<!DOCTYPE html>
<html>
<head>
<meta charset="UTF-8">
<title>Goodbye to Grievances &amp; Heartaches by Outrageously_Ordinary_Typist</title>
<style type="text/css">

body { background-color: #ffffff; }
.CI {
text-align:center;
margin-top:0px;
margin-bottom:0px;
padding:0px;
}
.center   {text-align: center;}
.cover    {text-align: center;}
.full     {width: 100%; }
.quarter  {width: 25%; }
.smcap    {font-variant: small-caps;}
.u        {text-decoration: underline;}
.bold     {font-weight: bold;}
</style>
</head>
<body>
<h1><a href="https://archiveofourown.org/works/24090439">Goodbye to Grievances &amp; Heartaches</a> by <a class='authorlink' href='https://archiveofourown.org/users/Outrageously_Ordinary_Typist/pseuds/Outrageously_Ordinary_Typist'>Outrageously_Ordinary_Typist</a></h1>

<table class="full">

<tr><td><b>Category:</b></td><td>Disco Elysium (Video Game)</td></tr>

<tr><td><b>Genre:</b></td><td>Case Fic, Crime Scene Investigation, M/M, POV Alternating, POV Second Person, Sorry Cop, canon-typical description of corpses, focus on healing and growth, lots of introspection</td></tr>

<tr><td><b>Language:</b></td><td>English</td></tr>

<tr><td><b>Status:</b></td><td>In-Progress</td></tr>

<tr><td><b>Published:</b></td><td>2020-05-09</td></tr>

<tr><td><b>Updated:</b></td><td>2020-06-26</td></tr>

<tr><td><b>Packaged:</b></td><td>2021-05-02 22:29:45</td></tr>

<tr><td><b>Rating:</b></td><td>Mature</td></tr>

<tr><td><b>Warnings:</b></td><td>No Archive Warnings Apply</td></tr>

<tr><td><b>Chapters:</b></td><td>8</td></tr>

<tr><td><b>Words:</b></td><td>17,427</td></tr>

<tr><td><b>Publisher:</b></td><td>archiveofourown.org</td></tr>

<tr><td><b>Story URL:</b></td><td>https://archiveofourown.org/works/24090439</td></tr>

<tr><td><b>Author URL:</b></td><td>https://archiveofourown.org/users/Outrageously_Ordinary_Typist/pseuds/Outrageously_Ordinary_Typist</td></tr>

<tr><td><b>Summary:</b></td><td><div class="userstuff">
              <p>It all starts with the death of a relationship therapist, found in her office with a hatpin sticking out of her chest, along with a flyer advertising her services with the slogan: 'SAY GOODBYE TO GRIEVANCES &amp; HEARTACHES - VISIT MME. REYNDERS TODAY!' It's up to Harry and Kim to investigate the murder without letting their personal heartaches interfere with the case, but that's far easier said than done.</p>
            </div></td></tr>

<tr><td><b>Relationships:</b></td><td>Harry Du Bois &amp; Kim Kitsuragi, Kim Kitsuragi/Jean Vicquemare</td></tr>

<tr><td><b>Comments:</b></td><td>45</td></tr>

<tr><td><b>Kudos:</b></td><td>27</td></tr>

</table>

<a name="section0001"><h2>1. Saint-like Patience</h2></a>
<div class="story"><div class="fff_chapter_notes fff_head_notes"><b>Notes for the Chapter:</b><blockquote class="userstuff"><p>This is my first work in this fandom and I have no idea what I'm doing, but at least I'm having fun. I don't know how long this will end up being as I'm just letting the character stats take over and guide me through this. Chapter 2 is already written and will be posted next week!</p></blockquote></div><div class="userstuff module">
    
    <p class="">There's nothing quite like interpersonal affairs of the intimate kind. It goes beyond knowing how someone takes their coffee or what their favourite colour is - it's beige.</p><p class="">It's about all the little things and minuscule quirks you don't notice until you see them for the seventh time. The twitch in their lips hinting a smile whenever you say something smart. How their eyes seem to sparkle after a breathtaking kiss, even with dark purple bags underneath.</p><p class="">It's a wholly unique situation you find yourself in, engaging in interpersonal affairs at work. You've never done it before. Not a single colleague at precinct 57 caught your eyes long enough for you to have the motivation to crawl up out of the homosexual underground to drag them in. Nor did you feel the need to disclose your sexual orientation with anyone in your precinct.</p><p class="">RHETORIC [Trivial: success] - Or your address, or hobbies, or the fact you enjoy listening to Speedfreaks FM.</p><p class="">LOGIC [Easy: success] - It came as no surprise they jokingly called you a 'Brick Wall' for not talking about your personal life.</p><p class="">RHETORIC [Easy: success] - They hadn't been joking.</p><p class="">And then came the fateful meeting with Lieutenant Harry Du Bois in Martinaise, solving the case of THE HANGED MAN.</p><p class="">He was a wrecking ball to your brick wall.</p><p class="">His unorthodox methods and retrograde amnesia threw you off for sure. Then when his ridiculous suggestions, which he seemed to pull from thin air, were connected to the case after all, you were stumped.</p><p class="">CONCEPTUALISATION [Medium: failure] - His brain must be one scary place.</p><p class="">RHETORIC [Medium: success] - In more ways than one.</p><p class="">Anyway, you solved the case together and then he offered you a position at precinct 41.</p><p class="">LOGIC [Medium: failure] - I have no clue why he did that.</p><p class="">EMPATHY [Easy: failure] - Maybe because he's a nice person and that's what nice people do</p><p class="">ESPRIT DE CORPS [Medium: success] - Because he sees you as a valuable partner to solve crime with.</p><p class="">The real question is, why did you accept?</p><p class="">YOU - Because working with Harry is engaging in a way nothing can compare. No one else challenges you to think as much as he does.</p><p class="">COMPOSURE [Medium: failure] - And no one tests your patience quite as much.</p><p class="">AUTHORITY [Challenging: success] - Harry better appreciates your saint-like patience.</p><p class="">EMPATHY [Medium: success] - He does.</p><p class="">Unfortunately he shows his appreciation by apologising. "I'm sorry, Kim." He'd say. "I'm sorry for being such a disaster of a human being." He usually follows it up with a kicked puppy look and an "I'll try to be better. I promise."</p><p class="">PERCEPTION (TOUCH) [Easy: success] - A finger touches the wrinkles on your forehead, trying to smooth out the frown that has settled between your eyebrows.</p><p class="">JEAN VICQUEMARE - "What're you frowning about?" He asks, retracting his finger.</p><p class="">In his other hand he's holding a cigarette. Both of you are leaning against the wall in an alleyway behind the precinct building. It has recently become the precinct's designated 'smoke room', after an excess of amount of smoke inside the office starting giving everyone massive headaches.</p><p class="">
  <span class="">PERCEPTION [Trivial: success] - It's a breezy mid-May morning. The sun is hiding behind a blanket of clouds and you're glad to have worn your jacket, since it's still rather chilly. You notice Jean is turned towards you, still waiting for your reply.</span>
</p><p class="">YOU - "Thinking about what led me here."</p><p class="">He processes your answer, taking another slow drag of his cigarette. It's his smoke break, not yours. But you stand close enough to inhale some of the smoke he exhales.</p><p class="">ELECTROCHEMISTRY [Challenging: success] - No one has to know about this. It can be our little secret.</p><p class="">VOLITION [Formidable: success] - One cigarette a day means one. Back away from Satellite-Officer Vicquemare right this instant.</p><p class="">YOU - You sigh and let the distance between you and Jean grow. You open your mouth and let the name of the person on your mind flow out; "Harry."</p><p class="">JEAN VICQUEMARE - "Shitkid managed to do something right." He drops the burnt out cigarette to the ground and stamps it out. "By getting you to join us."</p><p class="">EMPATHY [Medium: success] - Underneath his nonchalance is a sense of wonder.</p><p class="">RHETORIC [Challenging: failure] - He's not wondering how Harry managed to convince you. He's wondering how insane you are to accept Harry's offer after having spent a week with him at his absolute worst. Without badge, gun or sense.</p><p class="">AUTHORITY [Formidable: success] - He thinks you're dumbest man alive for finding Harry and his quirks <em>endearing</em>. </p><p class="">EMPATHY [Easy: success] - Once upon a time he stood in your shoes, defending Harry from criticism and from the looks of it, he never got any thanks for it. It would make any man bitter, not to mention someone as naturally grouchy as Jean Vicquemare.</p><p class="">YOU - "I'd be more of an idiot not accepting his proposal. Harry is an excellent detective." </p><p class="">RHETORIC [Medium: success] - You're defending yourself as much as you're defending Harry. You're aware of this, but to Jean it sounds like you're making excuses... for Harry.</p><p class="">JEAN VICQUEMARE - "You think I don't know that?" His tone sounds incredulous, "His natural talent is only overshadowed by his ability to screw up. Now you're here, he does that less."</p><p class="">EMPATHY [Challenging: success] - He's thanking you, but don't mention it. He's pretending not to care about Harry, let him have this.</p><p class="">YOU - "The Alcooliques anonymes meetings also play a part in that, I'm sure."</p><p class="">JEAN VICQUEMARE - All he does in response is hum in agreement.</p><p class="">YOU - "They also make him late for work, but we can't have everything." You allow some humour to seep into your words.</p><p class="">The corners of Jean's eyes crinkle. He allows only a small break in his composure before he slips his serious expression back on.</p><p class="">JEAN VICQUEMARE - "Speaking of, he should arrive soon." He prepares to leave.</p><p class="">COMPOSURE [Formidable: success] - You refrain from grabbing his arm and never letting him go. </p><p class="">COMPOSURE [Legendary: failure] - Unfortunately, you can't stop from calling out to him.</p><p class="">YOU - "Jean."</p><p class="">He turns back to you.</p><p class="">
  <em class="">'Is Harry not even allowed to see us together now?'</em>
</p><p class="">YOU - The words die on your lips and you shake your head. "Never mind, I'll talk to you later."</p><p class="">JEAN VICQUEMARE - He crosses his arms. "If you have something important to say, I'd rather you tell me now."</p><p class="">COMPOSURE [Legendary: success] - For the love of God, keep your mouth shut, Kitsuragi.</p><p class="">YOU - "It's nothing."</p><p class="">DRAMA [Easy: success] - Jean hasn't noticed your deceit.</p><p class="">He thinks nothing more of it and enters the building, leaving you with a metaphorical bucketful of doubt and your composure having gone through the wringer for you.</p><p class="">If Harry is a wrecking ball, then Jean is a chisel, chipping away at your wall at a snail's pace. He's relentless and determined to break it all down, but takes his sweet time doing it.</p><p class="">AUTHORITY [Formidable: success] - Jean is someone who likes being in control almost as much as you do. Do not surrender to him under any circumstance, or you will lose.</p><p class="">ELECTROCHEMISTRY [Challenging: success] - Win. Lose, who cares? Don't deny it, you want to give in to him. Let him breach your walls.</p><p class="">AUTHORITY [Heroic: success] - Not a chance.</p><p class="">Before you get into a full-blown argument with yourself, you push yourself off the wall and make your way inside the precinct.</p><p class="">In the middle of the office Chester Mclaine is recounting a tale of his weekend escapades. Every weekend it's something different, and every time it's something more extravagant. This weekend's story involves a fish restaurant. A woman choked on a fish bone and Chester heroically saved her from imminent death and was of course handsomely rewarded afterwards.</p><p class="">DRAMA [Medium: success] - There are a couple of plot-holes and consistency errors in his tale, my lord. At first he said this woman was from Messina, then he said her name was Marieke, which is clearly an Oranjese name.</p><p class="">Your attention is pulled away from the lavish tale when the office door swings open and Harry comes rushing in.</p><p class="">PERCEPTION (SIGHT) [Easy: success] - He's carrying a plastic bag and for a second you're wondering if he's got bottles in there to recycle. So does Jean and he approaches Harry first, seeing as his desk is closest to the door. You see Harry take something out of the plastic bag. It's a black ball, which he can hold in one hand. He's waving it around while he animatedly talks to Jean, who looks extremely unimpressed.</p><p class="">PERCEPTION (HEARING) [Challenging: failure] - You're too far away to hear them talking, especially with Chester's story working as interfering background noise. And unfortunately you never learnt how to lipread.</p><p class="">It's only a couple moments later that Captain Pryce's office opens and the captain himself walks out. He throws a cursory glance at Harry, currently engrossed in shoving his ball in Jean's face and then his eyes fall on you.</p><p class="">EMPATHY [Formidable: failure] - You can't make out what the expression on his face means. Is he angry or happy? Maybe he's confused, just like you.</p><p class="">CAPTAIN PRYCE - He silences the room with his booming voice. "I just received a report. We have a murder case."</p><p class=""> </p><p class="">---</p><p class=""> </p><p class="">The murder victim is a 55 years old woman, who works as a relationship therapist. She was found in her office earlier this morning, stabbed through the heart with a hatpin. It's her young assistant who found her and reported the case.</p><p class="">Her office is approximately a fifteen minute drive from the precinct, twenty-five with traffic. You and Harry are assigned to solve this case.</p><p class="">LOGIC [Medium: success] - Which makes sense, you work well together.</p><p class="">YOU - But Jean... </p><p class="">EMPATHY [Medium: success] - Don't you think he wants a break from working with Harry? He didn't seem upset in the slightest.</p><p class="">PERCEPTION [Easy: success] - But he also avoided you after your smoke break chat, so who's to know.</p><p class="">And now is really not the time or place to worry about him. You're driving your beloved Kineema motorcarriage to the scene of the crime with Harry sitting in the passenger seat next to you.</p><p class="">HARRY DU BOIS - He's wearing his usual eccentric set of clothing.</p><p class="">PERCEPTION (SMELL) [Easy: success] - Thank God they're clean. The scent of laundry detergent and something citrusy reaches your nose.</p><p class="">HARRY DU BOIS - Harry's blue ledger rests in his lap and he also brought the black ball along. He's trying to explain what it is to you.</p><p class="">INTERFACING [Challenging: success] - Leave the driving to me, boss. Listen to Harry.</p><p class="">HARRY DU BOIS - "You know I'm an impulsive buyer."</p><p class="">YOU - You remember his going-ons with Siileng and Roy, the pawnbroker. "Yes. You've made some-"</p><p class="">EMPATHY [Easy: success] - Don't say 'stupid'. You don't want to make him feel bad.</p><p class="">YOU- "...bold purchases during our case in Martinaise."</p><p class="">HARRY DU BOIS - "My AA sponsor told me I should make less rash decision, so that got me thinking on the way back to the station. And because I was so lost in thought I let my feet guide the way. Suddenly found myself in the middle of a flea market and by chance I happened upon this sucker." He holds the ball up, "This magic 8-ball only cost me 10 réal."</p><p class="">ENCYCLOPEDIA [Medium: success] - A magic 8-ball is a plastic novelty item that looks like a billiard ball. In order to use it, a person asks a YES or NO question and turns the ball around in order to read one of the 20 possible replies on the display.</p><p class="">
  <span class="">LOGIC [Medium: success]  - So, in order to prevent impulsive buying, he impulsively bought a magic 8-ball. That probably makes sense in Harry's world. The actual solution to his problem is rather simple: the detective just shouldn't be left in charge of his own finances.</span>
</p><p class="">HARRY DU BOIS - "So, what do you think?" Before you can answer, he gasps, "Wait, let's ask the magic 8-ball."</p><p class="">COMPOSURE [Formidable: success] - Patience is a virtue.</p><p class="">HARRY DU BOIS - He clears his throat and lowers his voice conspiratorially, "Oh magic 8-ball. What does Kim think of my purchase?"</p><p class="">YOU - "You can only ask it yes or no questions."</p><p class="">HARRY DU BOIS - He doesn't acknowledge your comment and turns the ball around.</p><p class="">MAGIC 8-BALL - <b>Better not tell you now.</b></p><p class="">HARRY DU BOIS - "Oh." His mouth is open in amazement.</p><p class="">COMPOSURE [Challenging: failure] - You find it hard not to crack a smile at his childish antics.</p><p class="">AUTHORITY [Formidable: success] - You could tell him to stop fooling around and he'd listen to you. You know this, so why don't you? </p><p class="">LOGIC [Medium: success] - Harrier Du Bois can't be controlled. Simple as that.</p><p class="">INTERFACING [Easy: success] - You arrive at the crime scene and park on the parking lot in front of a tall, grey building.</p><p class="">YOU - "Let's do this." You say as you turn the ignition off and step out of the motorcarriage.</p><p class="">INLAND EMPIRE [Challenging: success] - By God, you hope this isn't going to be difficult, but you have a gut feeling it will be. Especially with Detective Du Bois at your side.</p>
  </div></div>
<a name="section0002"><h2>2. Stabbed Through The Heart</h2></a>
<div class="story"><div class="fff_chapter_notes fff_head_notes"><b>Notes for the Chapter:</b><blockquote class="userstuff"><p>Hope you enjoy!! The next three chapters have been written, so for the next couple of weeks I can assure you'll get consistent updates~</p></blockquote></div><div class="userstuff module">
    
    <p class="">A young brunette woman greets you and Kim at the door. Her hair is tied in a bun on top of her head. A couple of stray strands hang in her front of her red-rimmed eyes.</p>
<p class="">KIM KITSURAGI - "Are you Miss. Travere?"</p>
<p class="">MISS TRAVERE - "Yes, I am." Her lips quiver when she speaks, her voice incredibly soft.</p>
<p class="">PERCEPTION (SIGHT) [Medium: success] - She's on the verge of crying and has been crying before you arrived as well.</p>
<p class="">KIM KITSURAGI - "You're the person who reported the murder?"</p>
<p class="">MISS TRAVERE - She nods.</p>
<p class="">She leads the way into the building and stops at what looks like a reception waiting area. There's a white desk and three file cabinets stand in the corner of the room.</p>
<p class="">KIM KITSURAGI - "Is it okay if we ask you a couple of questions, Miss Travere?"</p>
<p class="">MISS TRAVERE - She takes a shaky breath before replying, "That's fine."</p>
<p class="">KIM KITSURAGI - He looks at you as if to say; 'the stage is all yours.'</p>
<p class="">LOGIC [Easy: success] - This is our element, Detective. Let's start with a simple, all-encompassing question.</p>
<p class="">YOU - "Who are you?"</p>
<p class="">MISS TRAVERE - "My name is Danielle Travere and I'm Madame Reynders's personal assistant."</p>
<p class="">YOU - "What do you do as her personal assistant?"</p>
<p class="">MISS TRAVERE - "I usually arrive an hour before the first clients show up. I do most of the paperwork and accounting."</p>
<p class="">YOU - "And today?"</p>
<p class="">MISS TRAVERE - She leans back on the white desk and picks up a pen, using it to occupy her hands while she speaks. "I arrived at half past ten. Anne usually buzzes me in, but she didn't so I just used my own key."</p>
<p class="">YOU - Who's Anne, do we know her?</p>
<p class="">LOGIC [Medium: success] - Madame Reynders obviously. It's not odd for her personal assistant to call her by her first name.</p>
<p class="">MISS TRAVERE - "It kind of struck me as odd that she didn't greet me. She's always so cheery in the morning. So, after I cleaned up the waiting area, I went to check up on her and I found her... dead."</p>
<p class="">REACTION SPEED [Challenging: success] Hold up, she cleaned the waiting room?</p>
<p class="">PERCEPTION (SIGHT) [Easy: success] - Yes, it seems the waiting room is squeaky clean.</p>
<p class="">YOU - "Why did you clean the waiting room?"</p>
<p class="">MISS TRAVERE - She looks a bit confused at your choice of question, but answers regardless. "We have all sorts of clients and some come with muddy boots. I don't mind them, I just really don't like my workplace being dirty."</p>
<p class="">DRAMA [Medium: success] - She doesn't appear to be lying, sire.</p>
<p class="">KIM KITSURAGI - Lieutenant Kitsuragi has been making small notes in his notebook. He looks up at you.</p>
<p class="">EMPATHY [Challenging: success] - 'Shall we inspect the dead body now?' His eyes seem to convey.</p>
<p class="">PERCEPTION (SIGHT) [Trivial: success] - There's a double door to your right, behind which would be Madame Reynders's office.</p>
<p class="">YOU - "Is that Mme. Reynders's office?" you say, pointing to the double door.</p>
<p class="">MISS TRAVERE - "Yes, she's, um, in there."</p>
<p class="">INLAND EMPIRE [Legendary: success] - Wait just a moment, Harry. You won't like what you see in there.</p>
<p class="">YOU - Is it worse that seeing a decomposing man hanging from a tree, while you're so hungover you can't even remember your own name?</p>
<p class="">INLAND EMPIRE [Formidable: success] - No, it isn't, but it will be gruesome.</p>
<p class="">LOGIC [Medium: success] - Of course it will. A woman got stabbed in the chest.</p>
<p class="">KIM KITSURAGI - Kim addresses Ms. Travere, "We may have some more questions for you after we're finished with an initial examination of the victim's body."</p>
<p class="">MISS TRAVERE - "I'll be here."</p>
<p class="">Both of you enter Reynders's office. Two tall windows let in beams of natural, pale light. Brown wooden bookcases and cupboards line the walls, clad with a the ugliest pale pink wallpaper you've ever seen. The floor is carpeted, a beige floral print that stretches across the whole office. In the middle of the room stands a big wooden desk most people would consider an antique. In front of the desk stand two leather armchairs, facing the desk and the dead body.</p>
<p class="">Madame Reynders is slumped over in her desk chair. A hatpin sticks out of her chest, or into her chest, depending on how you look at it.</p>
<p class="">PERCEPTION (SMELL) [Challenging: failure] - The smell of blood and faeces permeates the air. It's so strong you can't make out anything else.</p>
<p class="">VISUAL CALCULUS [Formidable: success] - Her glassy eyes are trained on the door even in death. The last thing she saw was the retreating back of her killer.</p>
<p class="">INLAND EMPIRE [Challenging: success] - She was in pain, but looked determined, like she had the utmost faith in justice and the RCM.</p>
<p class="">ESPRIT DE CORPS [Heroic: success] - She was robbed once, a couple of years back. And while it was a minor crime, the RCM helped her out and solved the case. Ever since then, she had a newfound respect for the cops.</p>
<p class="">INLAND EMPIRE [Formidable: success] - Regardless, her expression tells you she wasn't afraid. She recognised him.</p>
<p class="">REACTION SPEED [Challenging: success] - Him?</p>
<p class="">INLAND EMPIRE [Impossible: failure] - Eh, just a hunch.</p>
<p class="">PERCEPTION (SIGHT) [Medium: success] - You notice a blood-splattered paper hanging off the hatpin.</p>
<p class="">LOGIC [Easy: success] - It seems like it got stuck to her chest when the hatpin pierced her heart. Maybe it's a message?</p>
<p class="">
  <span class="">BLOOD-SPLATTERED PAPER - It's some sort of flyer, made of the kind of paper that's glossy. The flyer has the words '</span>
  <span class="">SAY GOODBYE TO GRIEVANCES &amp; HEARTACHES - VISIT MME. REYNDERS TODAY!' written in bold on an off-white background. The text is encircled by a border made of tiny red hearts. </span>
</p>
<p class="">YOU - "Some kind of message?" You throw the idea out in the open.</p>
<p class="">KIM KITSURAGI - "There's a high chance she's been murdered because of her profession, though it's too early to say anything conclusive."</p>
<p class="">YOU - "Who would go out of their way to kill a relationship therapist?"</p>
<p class="">INLAND EMPIRE [Legendary: success] - Someone very, very bitter after a breakup. Someone like you.</p>
<p class="">KIM KITSURAGI - "People unsatisfied with her services for a start, or competitors in the field." He pushes his glasses further up his nose. "But, I think it's best to do the autopsy before we get ahead of ourselves."</p>
<p class="">YOU - "Right."</p>
<p class="">Your blue ledger is ready to handle another case. But first, it needs a name.</p>
<p class="">CONCEPTUALISATION [Challenging: success] - Ooh, what do you think about 'GOODBYE TO GRIEVANCES &amp; HEARTACHES' or if you want to be boring and have a more literal name you can go for 'THE WOMAN WHO GOT STABBED THROUGH THE HEART'.</p>
<p class="">YOU - You know Kim isn't the biggest fan of flowery names, but for once you think he might allow a more 'poetic' name. "What do you think about 'GOODBYE TO GRIEVANCES &amp; HEARTACHES'?"</p>
<p class="">KIM KITSURAGI - He sighs and then scribbles it down in his notebook. "Why not? It makes sense." He closes his notebook and motions for you to make notes in the autopsy form. You fill in the basic information first, your initials, the case number. and then the victim's information, her name and age, Anne Reynders, 55. Her date of birth is something to add on later once you find an identity card which would hold such information.</p>
<p class="">YOU - You take note of her clothes. A bordeaux pullover, a dark grey pencil skirt and nylon tights. She is the definition of a sophisticated middle-aged woman, minus the big chest wound. Her neck is adorned with a pearl necklace.</p>
<p class="">ENCYCLOPEDIA [Medium: success] - A pearl is formed inside a mollusk. Natural pearls are the rarest and thus the most expensive. This pearl necklace was made with cultured pearls, not those found in the wild. But it's still expensive jewellery.</p>
<p>LOGIC [Easy: success] - Her clothes and jewellery suggests that she was a rich woman.</p>
<p class="">RHETORIC [Challenging: success] - Now the question is, did she work for it or steal it from the common man?</p>
<p class="">YOU - Is there any rich person who actually works for their wealth?</p>
<p class="">KIM KITSURAGI - He has been waiting for you to be finished with, what to him looks like you blankly staring off into place, before continuing with the examination. </p>
<p class="">YOU - You meticulously write down the information Kim gives you. You arrive at the descriptions of injuries. As far as you can tell, there's only one.</p>
<p class="">KIM KITSURAGI - "A stab wound. The hatpin entered right above her left breast." He says and carefully pulls the pin out of her chest. He puts it in an evidence bag before closely inspecting the outside and inside of the wound. "The hatpin is around 16 cm in length and penetrated her cardiac muscle."</p>
<p class="">YOU - "Fatal injury."</p>
<p class="">KIM KITSURAGI - "Yes, there's no doubt about that." He eyes the hatpin in the evidence bag. "It's always easier when you don't have to go through the trouble of finding the murder weapon."</p>
<p class="">YOU - "It belonged to the victim."</p>
<p class="">KIM KITSURAGI - "You think so?"</p>
<p class="">PERCEPTION (SIGHT) - She has a small collection of hatpins on display on top of one of her cupboards. One of the holders is empty.</p>
<p class="">YOU - You relay this information to Kim, who looks almost embarrassed at not having noticed it himself.</p>
<p class="">KIM KITSURAGI - "Okay, so she's the owner of the murder weapon. And the estimated time of death is approximately 8 pm to 1 am yesterday night, correct?"</p>
<p class="">YOU - "Sounds about right to me."</p>
<p class="">KIM KITSURAGI - "Is there anything else we could've missed on the body? Another injury perhaps?"</p>
<p class="">INLAND EMPIRE [Formidable: success] - No, this feels right.</p>
<p class="">YOU - "I don't think so." </p>
<p class="">KIM KITSURAGI - "Then we can wrap up the autopsy."</p>
<p class="">YOU - You nod, unable to tear your eyes away from the small but deep hole in Anne's chest. </p>
<p class="">THE WOMAN WHO GOT STABBED THROUGH THE HEART - Are we on a first-name basis now, Harry?</p>
<p class="">RHETORIC [Medium: failure] - Uh, I don't know. Are we?</p>
<p class="">INLAND EMPIRE [Legendary: success] - Yes, you are.</p>
<p class="">YOU - Hi, Anne. Can you tell me who killed you?</p>
<p class="">THE WOMAN WHO GOT STABBED THROUGH THE HEART - I can't.</p>
<p class="">YOU - Why not?</p>
<p class="">THE WOMAN WHO GOT STABBED THROUGH THE HEART - Because then I would be doing your job for you and that's hardly fair.</p>
<p class="">YOU - But if we had some clues, like a name, we could find your killer and bring them to justice faster.</p>
<p class="">THE WOMAN WHO GOT STABBED THROUGH THE HEART - Justice will find them. I have the utmost faith in you, both of you.</p>
<p class="">EMPATHY [Medium: success] - She has more faith in you than you have in yourself.</p>
<p class="">VOLITION [Easy: failure] - It doesn't come as a reassurance.</p>
<p class="">SUGGESTION [Easy: success] - You know what does reassure you? The omniscience of the magic 8-ball.</p>
<p class="">LOGIC [Medium: success] - Exactly. Why would you buy it if not to use it?</p>
<p class="">YOU - But, this is a crime scene, I can't just take it out of my pocket.</p>
<p class="">SUGGESTION  [Challenging: success] - Sure you can. Need I remind you, Lieutenant Kitsuragi saw you at your absolute worst and didn't blink an eye. He's used to your eccentricities and this is nothing compared to the mess you were in Martinaise.</p>
<p class="">YOU - With a moderate amount of fumbling you produce the magic 8-ball out of one of your many jacket pockets.</p>
<p class="">KIM KITSURAGI - Kim is trying his best not to pay attention to your, whatever the hell you're doing.</p>
<p class="">YOU - "Oh magic 8-ball, will Lieutenant Kitsuragi and I solve this case successfully?" You ask and once again turn the ball around.</p>
<p class="">MAGIC 8-BALL - <b>Ask again later</b></p>
<p class="">YOU - "Ugh, you fucking useless piece of shit-junk."</p>
<p class="">KIM KITSURAGI - He's trying hard to hide a grin behind his sleeve.</p>
  </div></div>
<a name="section0003"><h2>3. The Butterfly Effect</h2></a>
<div class="story"><div class="fff_chapter_notes fff_head_notes"><b>Summary for the Chapter:</b><blockquote class="userstuff">
            <p>The crime scene investigation continues.</p>
          </blockquote></div><div class="userstuff module">
    
    <p class="">After finishing the autopsy and bagging the body, you and Harry take a look around Anne Reynders's office.</p>
<p class="">PERCEPTION (SIGHT) [Medium: success] - Like her assistant, Mme. Reynders keeps her office tidy. The floor is carpeted so it's probably more difficult to clean, but it's also more difficult to see dirt on a carpet than on a linoleum floor.</p>
<p class="">There are no loose papers lying around. Everything is neatly organised in folders. She has a couple of folders in the desk drawer, the others are alphabetically organised in a cupboard she used as a filing cabinet. The folders are files on clients. Some folders are packed full, others are thin and nearly empty. Only a handful of clients get the privilege of having two folders dedicated to them.</p>
<p class="">The couple of folders that are in the desk drawers are from clients she saw these past weeks.</p>
<p class="">LOGIC [easy: success] - The most likely suspects. Though you can't forget about the other people in her social circle.</p>
<p class="">While you are rummaging through the desk drawers and inspecting the folders, Harry is looking at the hatpins. He's been staring at them for so long it wouldn't surprise you if maybe, he's having a conversation with them, interrogating them on who's the murderer.</p>
<p class="">After being done with the client folders, you move to her bookcases. There are hundreds of books. Do any of them catch your eye?</p>
<p class="">PERCEPTION (SIGHT) [Challenging: success] - Not at first. Your farsightedness is making the book titles blur into each other and you don't seem to recognise any author names. Until you see the victim's name on the spine of one of the books.</p>
<p class="">LOGIC [Trivial: success] - So she's an author as well?</p>
<p class="">You slide the book out of the bookshelf and look at the front cover. The title is written in an elegant font: <em>'The Joys of Saying Yes: everything you need to know about consent and intimacy'</em>. The rest of the cover is left deliberately blank.</p>
<p class="">CONCEPTUALISATION [Medium: success] - You've got the feeling this book was written with a very specific target audience in mind, namely women between the ages of 30 and 50.</p>
<p class="">AUTHORITY [Challenging: success] - Not you, definitely not you.</p>
<p class="">HARRY DU BOIS - Harry walks up behind you. "What have you got there, Kim?"</p>
<p class="">YOU - You show the book to Harry, who shows his interest by plucking it from your hands. You let him.</p>
<p class="">HARRY DU BOIS - He throws open the cover and scans the table of contents with wide eyes.</p>
<p class="">AUTHORITY [Medium: success] - Stop him right now, before he spends the next hours reading this rubbish.</p>
<p class="">YOU - You lay a hand on Harry's arm. "Maybe now's not the time to read it. We still have more work to do."</p>
<p class="">HARRY DU BOIS - He gives you a dejected puppy look as he hands the book back to you.</p>
<p class="">Together, you inspect the rest of the office. <span class="">Anne Reynders wasn't just a relationship therapist (and author), but she was also an avid curio collector. And the hatpin collection is far from the only thing she has on display.</span></p>
<p class="">
  <span class="">PERCEPTION (SIGHT) [Medium: success] - Tin figurines, hand-painted ceramics and even a butterfly display. A dozen butterflies, in all different sizes and colours, are pinned to a board and affixed to a wooden frame. The wooden frame of the display has the words 'Let one flutter be the beginning of our beautiful life together' painted on it with white paint.</span>
</p>
<p class="">CONCEPTUALISATION [Heroic: success] - It's talking about the butterfly effect.</p>
<p class="">ENCYCLOPEDIA [Challenging: success] - The Butterfly Effect is a term used in chaos theory. It assumes that one small change in an initial condition can result in a big change in the fabric of reality in a later condition.</p>
<p class="">HARRY DU BOIS - "She was in a relationship with someone."</p>
<p class="">YOU - "I think it's about time we go ask miss Travere some questions again."</p>
<p class="">You find Danielle Travere at her desk in the waiting area. At first glance it looks like she's working, since she has a couple of files lying open on her desk and a pen in her hand, but looking closer, her pen isn't moving and her gaze is fixed on the wall in front of her.</p>
<p class="">YOU - "Miss Travere?" You address her softly.</p>
<p class="">MISS TRAVERE - She's shaken out of her reverie and looks at you apologetically. "I'm sorry, I was..."</p>
<p class="">HARRY DU BOIS - "You don't need to explain yourself, miss. Losing a close friend and colleague is very tough. You have our sincere condolences."</p>
<p class="">MISS TRAVERE - "Thank you." She says and adds a bit hesitantly. "Did you manage to... find everything you need?"</p>
<p class="">YOU - "Yes, I think we have. We do have a couple of questions for you still."</p>
<p class="">MISS TRAVERE - "I think I can manage a few questions."</p>
<p class="">EMPATHY [Easy: success] - She's not on the verge of crying anymore, but don't push her too hard.</p>
<p class="">HARRY DU BOIS - "We found a book written by Anne." He asks, "Know anything about it?"</p>
<p class="">MISS TRAVERE - "I know she's a writer, but that's about it."</p>
<p class="">HARRY DU BOIS - "You haven't read her book?"</p>
<p class="">MISS TRAVERE - "I- I haven't had the chance."</p>
<p class="">DRAMA [Challenging: failure] - It's unclear whether that means she wants to read to book or if she really doesn't.</p>
<p class="">COMPOSURE [Medium: success] - It's obvious she doesn't want to continue talking about this though. It's making her strangely uncomfortable.</p>
<p class="">LOGIC [Challenging: success] - Pushing this subject won't lead to anything, except maybe invoke some hostility.</p>
<p class="">HARRY DU BOIS - Harry has figured this out as well and backs down, choosing a different line of inquiry. "Was Anne in a relationship with anyone?"</p>
<p class="">MISS TRAVERE - "She used to have a husband, but their marriage ended about a year before I started working for her."</p>
<p class="">HARRY DU BOIS - "How long have you been working for her?"</p>
<p class="">MISS TRAVERE - "Four years." She says, "Anne sometimes had casual flings, but nothing too serious."</p>
<p class="">REACTION SPEED [Easy: success] - You know a thing or two about casual flings.</p>
<p class="">PERCEPTION (HEARING) [Challenging: success] - Also, is that disapproval you hear in her voice?</p>
<p class="">HARRY DU BOIS - Harry notices it as well. "You didn't approve of her affairs?"</p>
<p class="">MISS TRAVERE - Her face begins to flush. She's clearly embarrassed at being put on the spot. "Frankly, it was none of my concern and she seemed happy living life as she did. I guess I just can't fathom not wanting more out of a relationship."</p>
<p class="">SUGGESTION [Legendary: success] - What she says unlocks something inside you, something you've known for a while now. You've just been turning a blind eye to it.</p>
<p class="">COMPOSURE [Godly: success] - It doesn't unlock anything. Whatever the newly gained thought was, you shove it back into oblivion.</p>
<p class="">SUGGESTION [Impossible: failure] - What did you just-? You can't do that.</p>
<p class="">YOU - "I assume you're in a relationship, Miss Travere?"</p>
<p class="">SUGGESTION [Medium: success] - It comes out a bit forced, almost accusatory as if you're jea-</p>
<p class="">COMPOSURE [Godly: success] - You have everything under control.</p>
<p class="">MISS TRAVERE - Luckily she doesn't notice the underlying tension in your words and replies, a soft smile playing on her lips. "Yes, I am."</p>
<p class="">HARRY DU BOIS - "Lucky you." He tells her.</p>
<p class="">EMPATHY [Medium: success] - He's 100 percent genuine.</p>
<p class="">HARRY DU BOIS - "Now, back to the topic at hand."</p>
<p class="">VOLITION [Medium: failure] - Oh no, for once it wasn't Harry who derailed the conversation. It was you.</p>
<p class="">HARRY DU BOIS - "You said Anne had some casual flings, did she give you names, have phone numbers or addresses?"</p>
<p class="">MISS TRAVERE - She shakes her head sadly. "Not that I know of. I was usually the one keeping track of her meetings for her. She might have a personal agenda at her apartment, but I'm not sure."</p>
<p class="">HARRY DU BOIS - Harry turns to you. "We'll have to check that out."</p>
<p class="">MISS TRAVERE - She grabs a little slip of paper and writes something down, before handing it to Harry. "Here's the address."</p>
<p class="">HARRY DU BOIS - He accepts the paper and stuffs it in his ledger. He looks at you to check if he asked all he had to.</p>
<p class="">LOGIC [Medium: failure] - Questions? Murder investigation? No, you're still ruminating over what happened a couple of moments ago. Even after dismissing the thoughts so vehemently, you can't let it go, can you?</p>
<p class="">YOU - You raise up your shoulders in a small shrug.</p>
<p class="">LOGIC [Easy: success] - You've asked all you wanted to at this point in time. You can get back to her in the future, if you wish to do so.</p>
<p class="">YOU - "How can we contact you in the future?"</p>
<p class="">MISS TRAVERE - "I'll be here, working, tying up loose ends, dealing with the clients. Until I find a new job."</p>
<p class="">HARRY DU BOIS - "Thanks for your time today, Miss Travere." He all but bows to her. "Will you get home safely?"</p>
<p class="">MISS TRAVERE - "Yeah, my boyfriend usually picks me up after work. Thanks for your concern, officers."</p>
<p class="">After saying your goodbyes and collecting the body bag from the office, you make your way back to your Coupris Kineema. You sit down in the driver's seat, ignition not turned on yet, as you go over the case.</p>
<p class="">YOU - "In summary, it seems like it'll be a straightforward case. We have a lot of information about the victim, we also located the murder weapon and established the most probable cause of death. The difficulty of this case will be finding the murderer and figuring out their motive." You continue, "Anne Reynders's social circle is big. She sees a dozen clients every week, she has an ex-husband and a number of casual lovers."</p>
<p class="">HARRY DU BOIS - "No mention of family or friends though."</p>
<p class="">YOU - "Maybe when we investigate her apartment, we'll get a better idea of who she was in her private life." You say. "As for a motive. Let's develop a couple of theories."</p>
<p class="">HARRY DU BOIS - "Her ex-husband did her in."</p>
<p class="">INLAND EMPIRE [Medium: success] - It's the obvious answer and it's why Harry throws it out in the open. He doesn't want to believe it's the ex-husband, because in a way, he's the ex-husband.</p>
<p class="">EMPATHY [Formidable: success] - You don't know the full story, but over the months you've gotten to know Harry pretty well. You know there was a woman, Dora, who screwed him over a couple of years ago. And he screwed himself over even harder the following years.</p>
<p class="">YOU - "Because he's bitter? It's possible."</p>
<p class="">INLAND EMPIRE [Formidable: success] - But you don't think it's him. It would be <em>too</em> easy.</p>
<p class="">SUGGESTION [Easy: success] - You need to distract Harry with more theories.</p>
<p class="">YOU - "What else?"</p>
<p class="">HARRY DU BOIS - "One of her clients was unhappy with her services and snapped? Or it's one of her lovers, who wanted more than she was willing or able to give? She probably wasn't murdered for her money, because then the murderer would steal her valuables."</p>
<p class="">YOU - "Unless they're family and would inherit her fortune."</p>
<p class="">HARRY DU BOIS - "So we have four initial hypothesises to check?"</p>
<p class="">YOU - "Five, if we add the theory of her competitors wanting to get rid of her, though that is perhaps a bit far-fetched. Let's decide what to do next before we head back to the station."</p>
<p class="">When it comes to planning and to-do lists, Harry lets you take charge.</p>
<p class="">AUTHORITY [Easy: success] - It feels good to be in charge of something, providing structure to this investigation.</p>
<p class="">YOU - "First, I'll take the body in for processing. Maybe in the meantime, you could make a start on some of the client folders we found? Then tomorrow we can check out her apartment and do our first interviews with the suspects. Sounds good?"</p>
<p class="">HARRY DU BOIS - "Sounds perfect. I don't know what I would do without you, Kim."</p>
<p class="">AUTHORITY [Medium: success] - The fact Harry relies on you and trusts you is really satisfying.</p>
<p class="">ESPRIT DE CORPS [Challenging: success] - Still, shouldn't he have more people he can rely on? Cops are meant to look out for each other.</p>
<p class="">LOGIC [Medium: success] - In his quest to screw himself over, he also ruined his partner Jean and the rest of the precinct. No wonder they don't want to partner with him.</p>
<p class="">EMPATHY [Formidable: success] - You can't imagine ever disliking working with him, but then again he hasn't screwed <em>you</em> over.</p>
<p class="">INLAND EMPIRE [Legendary: failure] - Yet.</p>
  </div></div>
<a name="section0004"><h2>4. Can't Dispute The Magic 8-Ball</h2></a>
<div class="story"><div class="fff_chapter_notes fff_head_notes"><b>Summary for the Chapter:</b><blockquote class="userstuff">
            <p>Back at the precinct, Harry draws a wrong conclusion and formulates a plan that can't possibly go wrong.</p>
          </blockquote><b>Notes for the Chapter:</b><blockquote class="userstuff"><p>A bit of an early update because I had so much fun writing this and re-reading it while editing.</p></blockquote></div><div class="userstuff module">
    
    <p class="">You're reading the client folders, like Kim told you to do. Jean is sitting at a desk opposite to you in the precinct. Overall the atmosphere in the precinct is calm, most officers having gone on patrol or are busy with their cases. Most of the people still in the precinct are keeping to themselves, working away at their desks.</p><p class="">Every few minutes Jean's eyes shift to you, as if he's seeing a mirage of a unicorn, dancing on your head.</p><p class="">YOU - "Is there a tiny unicorn dancing on my head?" You ask, voice lowered so you don't disturb your other colleagues.</p><p class="">JEAN VICQUEMARE - He doesn't know what to say. He should be used to you by now, but still he gets flabbergasted. "What the hell are you talking about?"</p><p class="">YOU - You explain. "You've been staring at my face like there's a tiny unicorn dancing on my head. So, is there?"</p><p class="">JEAN VICQUEMARE - He sputters, "No, of course there's no unicorn."</p><p class="">EMPATHY [Medium: success] - He hates the fact you involve him in your ridiculousness and he hates even more that he's playing right into it.</p><p class="">YOU - "Then why are you looking at me like that?"</p><p class="">JEAN VICQUEMARE - "Because you're actually, honest-to-God working for once." He says, "It's a miracle."</p><p class="">YOU - "I do work, sometimes. Just not boring office work."</p><p class="">Unfortunately, boring paperwork is part of your job.</p><p class="">ENDURANCE [Easy: failure] - You try to stay concentrated, but it's difficult and eventually you give up and take the magic 8-ball out of your pocket.</p><p class="">JEAN VICQUEMARE - He rolls his eyes at the appearance of the ball. He's as impressed with it as the first time you showed him. "That thing again. What a waste of money."</p><p class="">LOGIC [Medium: success] - It's not a waste of money, prove it to him.</p><p class="">YOU - "Magic 8-ball, were you a waste of money?"</p><p class="">MAGIC 8-BALL - <b>Without a doubt</b></p><p class="">YOU - "What, no." You shake the ball, in case that would change its answer. It doesn't.</p><p class="">JEAN VICQUEMARE - He hides a grin in the palm of his hand, but the amusement is still loud and clear in his tone. "Well,  you heard it. Can't dispute the magic 8-ball."</p><p class="">YOU - You look at the ball with disdain and shift it from one hand to the other.</p><p class="">INTERFACING [Medium: success] - Somehow it helps you concentrate when you have something to occupy your hands with. </p><p class="">A couple of minutes pass and you have read exactly zero words on the page in front of you.</p><p class="">LOGIC - What's wrong with you? Are you suddenly not able to read anymore?</p><p class="">PAIN THRESHOLD [Medium: failure] - Ugh, this is so boring it might kill us and is that a headache you feel coming on?</p><p class="">JEAN VICQUEMARE - Surprisingly, it's Jean who comes to your rescue and breaks the silence between you. "How is the case going?" He asks, resting his head on his hand.</p><p class="">REACTION SPEED [Challenging: success] - Jean, showing interest in our work? It's a trap.</p><p class="">EMPATHY [Medium: success] - No, it seems like he's genuinely interested.</p><p class="">YOU - "You're interested in the case?"</p><p class="">JEAN VICQUEMARE - He makes a big show of rolling his eyes. He does that a lot around you. "Not if you're gonna be an ass about it."</p><p class="">YOU - "No, no. I'm just wondering, why would you care?"</p><p class="">EMPATHY [Medium: success] - He looks at you like you're an idiot for having to ask.</p><p class="">JEAN VICQUEMARE - "You work best when you have someone to bounce ideas off of." He says, "And your other partner is nowhere to be seen."</p><p class="">RHETORIC [Challenging: success] - There's something about the way he says the word 'partner'.</p><p class="">EMPATHY [Easy: success] - There's some underlying tension there.</p><p class="">ESPRIT DE CORPS [Medium: success] - Of course there is. You and Jean are 'goddamn partners', he's not happy he's been replaced.</p><p class="">SUGGESTION [Medium: success] - Is that it, though? He didn't seem that upset when you and Kim were assigned this case together.</p><p class="">COMPOSURE [Formidable: failure] - It's impossible for you to get an accurate reading of Jean's opinion on Kim. Whatever he's feeling, he's keeping it very hidden. </p><p class="">JEAN VICQUEMARE - "So?" He raises an eyebrow, awaiting your reply.</p><p class="">RHETORIC [Easy: success] - He's saying he's willing to be your verbal sparring partner.</p><p class="">YOU - "Our main concern for this case is going through all the suspects. Our victim had a lot of clients." You raise up the pile of client folders to show him just how many suspects you'll have to check and eliminate, one by one.</p><p class="">INLAND EMPIRE [Easy: success] - This kind of case serves a unique challenge by giving you such a vast amount of information you can get lost in it. You'll have to check every possible lead in order to be thorough. And that will take time.</p><p class="">ENDURANCE [Medium: success] - It will require you to work twice as hard.</p><p class="">JEAN VICQUEMARE - "Shouldn't you be able to eliminate certain clients based on their file alone?" He corrects himself, "Or at least put them lower on your list of suspects?"</p><p class="">LOGIC [Easy: success] - He's correct. You'll find the murderer sooner if you interrogate the really suspicious people first. I could've told you that too, you know.</p><p class="">YOU - "That's what we're gonna do."</p><p class="">PERCEPTION (HEARING) - You faintly hear the door opening behind you and someone's shoes on the tiled floor.</p><p class="">KIM KITSURAGI - "What are we going to do?" He asks, having heard a bit of your conversation.</p><p class="">SUGGESTION [Challenging: success] - Say something witty.</p><p class="">RHETORIC [Medium: failure] - Nope. Nothing.</p><p class="">YOU - "Be the best detectives ever and solve this case in a matter of minutes!"</p><p class="">KIM KITSURAGI - He glances at his wristwatch and then says in a deadpan voice, "I think we're a bit too late for that."</p><p class="">INLAND EMPIRE [Formidable: success] - No, we can never be late, because... time isn't real.</p><p class="">YOU - Time isn't real?</p><p class="">INLAND EMPIRE - Yes and that means you can finish this case whenever you want and it'll be 'on time'.</p><p class="">YOU - "Kim, apparently time isn't real, so we can never be late."</p><p class="">KIM KITSURAGI - "While I respect your brave opinion, I don't think Captain Pryce will if he catches you slacking off."</p><p class="">YOU - "I wasn't slacking off. Jean was helping me with the case, weren't you, Jean?"</p><p class="">JEAN VICQUEMARE - Jean, the bastard, feigns ignorance, "Huh?" and only briefly looks up from his paperwork.</p><p class="">REACTION SPEED [Challenging: success] - You catch Kim casting a glance at Jean, but as soon as you blink, he's already looking away.</p><p class="">EMPATHY [Easy: success] - Oh my God, you weren't imagining it. There <em>is</em> tension between them.</p><p class="">PAIN THRESHOLD [Medium: success] - And it's your fault. Your goddamn partner and your other partner hate each other because you chose one over the other.</p><p class="">RHETORIC [Easy: success] - Technically, Jean left you behind in Martinaise.</p><p class="">EMPATHY [Medium: success] - Only because you told him to get lost and pushed him away.</p><p class="">YOU - Fuck, what do I do to fix this?</p><p class="">SUGGESTION [Formidable: success] - You know damn well what you're going to do. Your top priority from now on is that Kim and Jean become friends.</p><p class="">LOGIC [Trivial: success] - But what about the murder?</p><p class="">EMPATHY [Medium: success] - The well-being and happiness of your two partners comes first, doesn't it?</p><p class="">INLAND EMPIRE [Easy: success] - Besides, the murder will get solved. It always does. It's inevitable.</p><p class="">YOU - How can I make them be friends?</p><p class="">LOGIC [Easy: success] - People become friends by spending more time together.</p><p class="">SUGGESTION [Easy: success] - Invite them to dinner.</p><p class="">YOU - You can't cook, or if you can, you can't remember and you've been living mostly off take-out anyway.</p><p class="">SUGGESTION [Medium: success] - Then invite them to that wok place down the road. You know the one.</p><p class="">RHETORIC [Trivial: success] - You think it's called 'Wok Palace' or something along those lines.</p><p class="">YOU - Okay, yeah. That's a good idea... You can do that and be totally casual about it.</p><p class="">SAVOIR FAIRE [Legendary: failure] - Subtle isn't going to work here. You'll have to shout in their faces about how hungry you are.</p><p class="">YOU - "Do you want to get dinner, together, the three of us," you repeat, "together?"</p><p class="">PERCEPTION (SIGHT) [Easy: success] - The looks on their faces can only be described as dread and suspicion.</p><p class="">REACTION SPEED [Heroic: success] - Quick, before you let them reject the idea outright...</p><p class="">YOU - "Magic 8-ball, should Detective Vicquemare and Lieutenant Kitsuragi have dinner with me?" You turn around your magic 8-ball, which has betrayed you so far, and hope for the best.</p><p class="">MAGIC 8-BALL - <b>Yes - Definitely</b></p><p class="">YOU - You give the magic 8-ball a little pat for its great job and gloat, "You can't dispute the magic 8-ball, Jean."</p><p class="">COMPOSURE [Challenging: success] - You just about manage not to stick out your tongue at him.</p><p class="">JEAN VICQUEMARE - He glares daggers at you, annoyed you're using his own words against him.</p><p class="">KIM KITSURAGI - Kim shrugs, "I haven't been there before, so why not?"</p><p class="">YOU - You shoot Kim some appreciative fingerguns and turn your eyes to Jean.</p><p class="">JEAN VICQUEMARE - "Fine, but you better pay for your own food."</p><p class=""> </p><p class="">---</p><p class=""> </p><p class="">The wok restaurant is crowded and people are shouting things to each other in a language you can't understand. It's too hot, so you've taken off your jacket and hang it over the back of your seat. The three of you are crammed in a booth next to one of the windows looking out into the night street. Kim is squeezed between Jean and the wall and it looks like he's struggling a lot with the heat too. Except he's refusing to take his jacket off.</p><p class="">PHYSICAL INSTRUMENT [Challenging: success] - Perhaps he's embarrassed at how scrawny he looks compared to you and Jean.</p><p class="">INLAND EMPIRE [Challenging: success] - Perhaps things are not what they seem and it's not the heat he's struggling with.</p><p class="">INLAND EMPIRE [Medium: failure] - You have no clue what else it could be though.</p><p class="">There are hardly any positive things to be said about the atmosphere of the restaurant, but the food is delicious and ridiculously spicy. Your mouth is practically ablaze.</p><p class="">PAIN THRESHOLD [Challenging: failure] - We need water.</p><p class="">REACTION SPEED [Easy: success] - No, that will only make the fire spread. Eat some bread.</p><p class="">YOU - You stuff some bread in your mouth to soothe the flames.</p><p class="">COMPOSURE [Medium: success] - It looks like you're the only one struggling with the spiciness of your meal. Jean is calmly eating his spicy chicken dish. His unnaturally strong composure doesn't even allow him to break a sweat. And the only reaction Kim has to his hot-and-spicy chilly dish is a faint flush in his cheeks.</p><p class="">SUGGESTION - There's one problem still.</p><p class="">YOU - Oh no, what now?</p><p class="">SUGGESTION - You've managed to drag Kim and Jean here and they're enjoying the food, but they can't become friends if they don't talk to each other.</p><p class="">YOU - But what would they even talk about?</p><p class="">SUGGESTION [Challenging: success] - Anything but work.</p><p class="">YOU - "Uh, how are enjoying Wok Palace?"</p><p class="">KIM KITSURAGI - Kim looks around with a wry expression. He seems to have some trouble putting the mess that is Wok Palace into words. "It's quite an experience."</p><p class="">YOU - You turn your expectant gaze towards Jean.</p><p class="">JEAN VICQUEMARE - The man sighs and wipes his mouth with a napkin before replying. "Don't tell me you've forgotten I'm the one who introduced you to this restaurant."</p><p class="">EMPATHY [Easy: success] - He sounds disappointed, as if there's a fun anecdote about your first visit to this restaurant and he wishes to joke about it, but can't, because of you.</p><p class="">YOU - "Of course I remember when-"</p><p class="">CONCEPTUALISATION [Formidable: failure] - Just make something up, anything will work.</p><p class="">YOU - "... I set a napkin on fire accidentally?"</p><p class="">JEAN VICQUEMARE - "Close enough," he snorts, appreciative of your effort. "You spilled a carafe of water on yourself and one of the waitresses."</p><p class="">LOGIC [Challenging: success] - Based on how amused he sounds, this is from way back when. The happier days, before it all went to shit.</p><p class="">VOLITION - But hey, you're here now. You're sober, off drugs and sitting here with your two partners eating dinner and acting like a semi-sensible person. So... keep up the good work, Detective.</p>
  </div></div>
<a name="section0005"><h2>5. The Serial Sleep-Killer</h2></a>
<div class="story"><div class="fff_chapter_notes fff_head_notes"><b>Summary for the Chapter:</b><blockquote class="userstuff">
            <p>The night is utterly devoid of life, but Kim and Harry experience some profound emotions.</p>
          </blockquote><b>Notes for the Chapter:</b><blockquote class="userstuff"><p>This chapter starts from Kim's POV and switches to Harry's in the middle of it, but I tried to make this clear in the chapter itself.</p></blockquote></div><div class="userstuff module">
    
    <p class="">PERCEPTION [Medium: success] - When you step out of your Coupris Kineema, the cold outside nips at your fingers and the tips of your ears. The lack of a moon hanging in the sky makes it a pitch-black night. Yellow streetlights illuminate the city streets. A tall apartment building looms over you and Jean. The lights are on behind some of the windows, faintly visible through the curtains. Other windows are dark and devoid of any sign of life. </p>
<p class="">Jean lives in a small one-bedroom flat on the fourth floor. You've never been inside before, but you've dropped him off here a couple of times before. Just like you're doing now.</p>
<p class="">LOGIC [Medium: success] - Nothing required you to get out of your motor-carriage and walk with him up to the main entrance door, but here you are regardless.</p>
<p class="">PERCEPTION [Easy: success] - Jean's looking at you, quizzically.</p>
<p class="">EMPATHY [Medium: success] - Like he's having a hard time trying to figure you out.</p>
<p class="">COMPOSURE [Formidable: success] - You don't show him anything and stare right back at him.</p>
<p class="">JEAN VICQUEMARE - He's the first to look away, but only to take a packet of cigarettes out of his pocket and his lighter. He lights two cigarette's and then hands one to you. He takes a drag of his cigarette, before commenting, "Today was nice."</p>
<p class="">ELECTROCHEMISTRY [Medium; success] - All of today's stress and tension that's been building up inside you floats away after the first puff of smoke. You let your worries drift away like smoke in the night air.</p>
<p class="">YOU - "It was an eventful day, but I agree that dinner was rather pleasant."</p>
<p class="">JEAN VICQUEMARE - "Just the food or also the company?"</p>
<p class="">AUTHORITY [Easy: success] - He's testing you. Don't give him the satisfaction.</p>
<p class="">YOU - "The food was great, but the company could use some work." you say, keeping your face neutral as you continue, "I mean, the etiquette of the rowdy crowd in the booth beside us was downright atrocious."</p>
<p class="">JEAN VICQUEMARE - His eyes narrow dangerously.</p>
<p class="">AUTHORITY [Easy: success] - He's invested in the game you're playing. You've got him hooked.</p>
<p class="">JEAN VICQUEMARE - "And what about the company in your booth?"</p>
<p class="">YOU - "In my booth?" You put a hand to your chin, pretending to think. "Well, Harry was on his best behaviour."</p>
<p class="">JEAN VICQUEMARE - He huffs in agitation before plucking the cigarette from your mouth. And then he's kissing you.</p>
<p class="">REACTION SPEED [Challenging: failure] - It's a kiss so deep it catches you off-guard and steals your breath.</p>
<p class="">VOLITION [Medium: success] - We need air to breathe. Please get a hold of yourself!</p>
<p class="">COMPOSURE [Formidable: failure] - But Jean is kissing you right now and his hand on your cheek is making you his thrall. You can't do anything to stop it.</p>
<p class="">ELECTROCHEMISTRY [Challenging: success] - And baby, you don't wanna.</p>
<p class="">PERCEPTION - You feel like you're burning up inside. And the scent and taste of smoke only amplifies those feelings.</p>
<p class="">RHETORIC - You were wrong, before. It's Jean who's got <em>you </em>hooked. </p>
<p class="">CONCEPTUALISATION [Medium: success] - He's a warm beacon in this cold night. You want to get closer to him and chase that warmth, until you're breathing the same air. Melt into one physical being.</p>
<p class="">But every nice thing has to come to an end at some point. That includes the unfairly exhilarating kiss you just shared.</p>
<p class="">JEAN VICQUEMARE - He pulls back, but doesn't retract his hand from your cheek. His breath ghosts over your lips, as he asks, "What about me?"</p>
<p class="">RHETORIC [Easy: failure] - You have no idea what he's talking about. He has figuratively kissed every sensible thought out of your brain.</p>
<p class="">YOU - "What about you?" You ask stupidly.</p>
<p class="">JEAN VICQUEMARE - "Do you enjoy my company?" His voice gets low and intimate in a way you've not heard from him before.</p>
<p class="">COMPOSURE [Medium: failure] - The hand caressing your cheek is distracting. By the time you've progressed his question, you're completely leaning into his touch.</p>
<p class="">AUTHORITY [Formidable: failure] - You're displaying a complete lack of self-control and meek compliancy. Where has your pride gone, Officer?</p>
<p class="">LOGIC [Medium: success] - By now, it's too late to pretend you're not enjoying his company, because he would know you're lying. But you're also not willingly going to admit it. </p>
<p class="">RHETORIC [Easy: success] - Just say nothing.</p>
<p class="">YOU - You keep your mouth shut and reluctantly step away from him.</p>
<p class="">JEAN VICQUEMARE - Apparently that is answer enough for him, because there's a playful twinkle in his eyes.</p>
<p class="">ELECTROCHEMISTRY - Please, you need to kiss him again.</p>
<p class="">AUTHORITY [Challenging: success] - If only to wipe the smug smirk off his face.</p>
<p class="">VOLITION - No, you don't and you can't.</p>
<p class="">YOU - You sigh, torn between staying here with him or going home.</p>
<p class="">VOLITION [Medium: success] - You know which one is the better, safer option, the option that will not end up breaking your heart if this goes wrong.</p>
<p class="">INLAND EMPIRE [Challenging: success] - And you know it's going to go to shit at some point, it's inevitable.</p>
<p class="">YOU - "I should head home now."</p>
<p class="">JEAN VICQUEMARE - He gives you a nod. "All right."</p>
<p class="">VOLITION [Medium: success] - He doesn't argue. He doesn't stop you from stepping into your Kineema. He doesn't ask you to stay and come inside, because that's what lovers do and what you are is nothing like that. Your relationship is strictly casual and you both know it has to stay that way for the sake of your careers and for your own sanity.</p>
<p class="">PAIN THRESHOLD [Challenging: success] - Jean would break your heart if you let him.</p>
<p class="">AUTHORITY [Easy: success] - That shouldn't be an issue. This arrangement is purely some casual fun and while, yes, you can admit (to yourself) that you enjoy Jean's company, you don't have feelings for him.</p>
<p class="">SUGGESTION [Medium: failure] - Uh, er... well, um boss, there might be a teeny, tiny issue with your arrangement.</p>
<p class="">AUTHORITY [Easy: success] - What now?!</p>
<p class="">SUGGESTION [Medium: success] - The truth is, you like Jean.</p>
<p class="">RHETORIC [Challenging: success] - 'Like' doesn't even begin to describe it. You have a huge, unmistakable crush on him. </p>
<p>ELECTROCHEMISTRY [Formidable: success] - And it's not just the superficial 'have sex and be done with it' crush. You want him in your bed, every fucking night, <em>fucking </em>every night, for the rest of your life.</p>
<p class="">AUTHORITY [Challenging: failure] - You're fucked, Officer.</p>
<p>COMPOSURE [Legendary: failure] - You're lucky you're in your motor-carriage alone and it's late at night, because your face is positively flushed right now.</p>
<p> </p>
<p>---</p>
<p> </p>
<p>Ever since returning to central Jamrock after the investigation in Martinaise, you've been keeping up a nightly routine. Being sober 24/7 meant less time spent drinking or recovering from a hangover and it meant having more time to do whatever.</p>
<p class="">The first thing you did when you returned was clean up your shitty apartment and throw out anything that didn't fit your new image of 'has his shit together half of the time'-cop. Nowadays, not a single bottle of alcohol can be found in your apartment, nor are there any drugs that aren't prescribed.</p>
<p class="">During your cleaning spree you found a sturdy table under a mess of empty food containers and paper waste. The table now houses your new project, a big fortress of cards.</p>
<p class="">CONCEPTUALISATION [Formidable: success] - There was no way you were going to be satisfied with a puny 'house of cards'.</p>
<p class="">HAND-EYE COORDINATION [Challenging: success] - It took you a few tries before you managed to even keep the basic structures standing, but now the main building of your fortress is done and you're working on the towers and wall.</p>
<p class="">LOGIC [Easy: success] - You've had way too much time on your hands.</p>
<p class="">INTERFACING [Medium: success] - It's a fun way to stay occupied in a way that has nothing to do with work.</p>
<p class="">YOU - When you start feeling the fatigue of the day catching up with you, you yawn and prepare for bed. After your head lands on the pillow it feels like your limbs have weights tied to them, preventing you from moving them around freely.</p>
<p class="">INLAND EMPIRE - Your eyelids are too heavy to keep open. The metaphysical ropes binding your body make you sink deeper. You're falling into a vortex of subconsciousness. A dream.</p>
<p class="">PERCEPTION - There's an impenetrable darkness surrounding you, seeping into your clothes, washing out every colour on the visible spectrum into a dull grey.</p>
<p class="">LOGIC - You have no idea where you are. Some kind of hallway inside a building?</p>
<p class="">PERCEPTION [Formidable: failure] - It's unbelievably dark and devoid of life. There's nothing.</p>
<p class="">YOU - Absolutely nothing?</p>
<p class="">PERCEPTION - [Legendary: success] - Nothing, except you and a light-switch.</p>
<p class="">YOU - Where the hell did that suddenly come from?</p>
<p class="">LOGIC [Easy: success] - This is a dream, Harry. These things just happen.</p>
<p class="">INTERFACING - Press the switch.</p>
<p class="">YOU - You press the light-switch and miraculously, the light turns on. It flickers for just a moment. </p>
<p class="">PAIN THRESHOLD - The light <em>would</em> hurt your eyes, but this is a dream, remember?</p>
<p class="">HALF-LIGHT - Red covers your hands. </p>
<p class="">PERCEPTION (SMELL) - A metallic tang fills your nostrils.</p>
<p class="">HALF-LIGHT - It's blood. It covers the walls and floor as well.</p>
<p class="">YOU - You feel compelled to follow the trail of blood. Even if you wouldn't, there is just nowhere else to go.</p>
<p class="">The hallway ends abruptly. A big wooden door stands in your way. It's white, but smeared with blood.</p>
<p class="">INLAND EMPIRE - You really shouldn't open this door.</p>
<p class="">INTERFACING - But it's a door. Its sole purpose is to be opened.</p>
<p class="">VOLITION - And is your raison d'être to open every door in existence? Just let it be, Harry.</p>
<p class="">YOU - You can't let it be. You're curious by nature and by your job conditioning you to be inquisitive.</p>
<p class="">THE BLOOD-SMEARED DOOR - The door creaks open before you touch it, as if being blown open by a gust of wind.</p>
<p class="">YOU - You step into the room, a familiar office. The one you visited earlier today. The walls are still lined with bookshelves and clad with atrocious pale pink wallpaper. In the middle of the room stands an old-fashioned wooden desk, the woman who got stabbed through the heart sits at her desk. Her chest is bleeding but that doesn't seem to hinder her as she's writing.</p>
<p class="">ANNE REYNDERS - She looks up and notices you. "Oh hello dear, please sit down." She offers you a seat and stands up to shake your hand.</p>
<p class="">COMPOSURE [Easy: success] - Your hand is still covered in blood, but not shaking hands would be more rude.</p>
<p class="">YOU - You wipe your hand on your trousers, but the blood doesn't come off. Not knowing what else to do, you shake her hand regardless.</p>
<p class="">EMPATHY [Medium: success] - She doesn't mind the blood.</p>
<p class="">ANNE REYNDERS - She sits back down and throws you a warm smile.</p>
<p class="">INLAND EMPIRE [Challenging: success] - A smile that reminds you of freshly baked tarte au riz and chrysanthemums. </p>
<p class="">ANNE REYNDERS - "What can I help you with, Harry?"</p>
<p class="">INLAND EMPIRE [Medium: success] - Her eyes are kind but penetrating, like she sees right through your skull, into your brain.</p>
<p class="">HALF-LIGHT [Challenging: success] - It's terrifying. Make her stop.</p>
<p class="">SHIVERS [Formidable: failure] - Maybe you've tried to stop her before and that's why there's blood on your hands.</p>
<p class="">YOU - "Did I kill you?"</p>
<p class="">ANNE REYNDERS - She laughs heartily. "Oh no, Harry, no, of course you didn't. You've only just met me today and I was already dead then."</p>
<p class="">YOU - "Are you sure?" You ask.</p>
<p class="">ANNE REYNDERS - "One can never be sure, but I believe so."</p>
<p class="">INLAND EMPIRE [Medium: success] - She's a relationship therapist, you're a brokenhearted man. It would only take one drunken night and you seeing that flyer for her services to ring her up for an appointment. Then, when she told you what you already knew (that you're a hopeless case) you lashed out and stabbed her in the chest.</p>
<p class="">LOGIC [Challenging: success] - One thing is, you haven't been drunk once since Martinaise.</p>
<p class="">INLAND EMPIRE [Legendary: success] - But what if you've been sleep-killing?</p>
<p class="">YOU - "I could have sleep-killed you?"</p>
<p class="">ANNE REYNDERS - She looks unconvinced. "Have you ever sleep-killed someone before?"</p>
<p class="">HALF-LIGHT - Can someone be sure they <em>haven't</em> sleep-killed anyone before?</p>
<p class="">SHIVERS - There wouldn't necessarily have to be blood on your hands. An out-of-the-ordinary feeling of unimaginable guilt would also be a consequence of killing. And you've woken up many times with that kind of feeling.</p>
<p class="">YOU - "I might be a serial sleep-killer."</p>
<p class="">ANNE REYNDERS - "You might be, but you're not my killer."</p>
<p class="">YOU - "Who else have I killed?"</p>
<p class="">ANNE REYNDERS - Her expression shifts into a cruel smile that doesn't belong on her face. She speaks with a voice that's not her own. "Oh Harry, you've destroyed so many good lives. Isn't that just as bad as killing them?"</p>
<p class="">YOU - "No, I never meant to-"</p>
<p class="">ANNE REYNDERS - "Our actions have consequences, Harry. And your actions have left you completely and utterly alone."</p>
<p class="">The words whirl around you and bite into your skin, as if they had a tangible form. They push you backwards, until you're pushed out of the room, out of the bloody hallway and you wake up in your bed with those last words still ringing in your ears.</p>
<p class="">
  <em>Completely and utterly alone.</em>
</p>
<p class=""> </p>
  </div></div>
<a name="section0006"><h2>6. 98.63 Percent of Credible Alternatives</h2></a>
<div class="story"><div class="fff_chapter_notes fff_head_notes"><b>Summary for the Chapter:</b><blockquote class="userstuff">
            <p>The investigations continues, from searching Anne Reynders's apartment to interviewing suspects.</p>
          </blockquote></div><div class="userstuff module">
    
    <p class="">Unlike what your young and spry self might have thought before joining the RCM, murder investigations are rarely action-packed. There are no car chases or kidnappings or anything of the like. At most the murderer would have an interesting motive.</p>
<p class="">But even that starts to seem quite unlikely when you are halfway done investigating Anne Reynders's apartment.</p>
<p class="">PERCEPTION (SIGHT) [Easy: success] - Her apartment is a culmination of her wealth. Many items are on display: a vast collection of fur coats, antique vases, a grand piano, dozens and dozens of shoes and a library's worth of books.</p>
<p class="">RHETORIC [Trivial: success] - In short, she was filthy rich.</p>
<p class="">LOGIC [Easy: succes] - It would be a good enough reason to want her dead, but there was one major flaw in this theory.</p>
<p class="">LOGIC [Medium: success] - She hasn't been robbed. Not in her office nor in her home.</p>
<p class="">VISUAL CALCULUS [Medium: success] - As far as you can see, there's no sign of a break in or a robbery.</p>
<p class="">LOGIC [Challenging: success] - So while her money probably isn't what killed her, it could perhaps be useful to check up on who would inherit her fortune after she died.</p>
<p class="">YOU - You make a note of that in your notebook and look up. It's been a long time since you've heard Harry moving around in the apartment.</p>
<p class="">YOU - "Detective?" You call out to him, listening for a response.</p>
<p class="">PERCEPTION (HEARING) [Trivial: success] - Nope, nothing. He probably didn't hear you.</p>
<p class="">YOU - "Harry?" You repeat, a little louder this time as you approach the bedroom, where Harry went to investigate.</p>
<p class="">PERCEPTION (SIGHT) [Formidable: failure] - Peering in from the open doorway, you have a clear view of Harry standing still next to an open dresser. He's looking at a framed picture. From this angle you can't see what's on it.</p>
<p class="">YOU - You approach Harry and ask, "What are you looking at, Detective?"</p>
<p class="">HARRY DU BOIS - Your voice drags him back to the here and now. He turns to you and says, "Look at this, Kim."</p>
<p class="">PERCEPTION (SIGHT) [Easy: success] - Now you're closer, the picture is visible. The photograph is of a group of four people sitting on a picnic blanket. Two adults and two children, a boy and a girl. The girl looks to be around<span class=""> fourteen years old and the boy is a bit younger, maybe eight or nine. The sun is shining in the picture. At the moment the picture was taken, the boy was squinting his eyes and the girl shot the camera a teasing, entirely age-inappropriate wink.</span></p>
<p class="">
  <span class="">YOU - "It's a family picture."</span>
</p>
<p class="">
  <span class="">HARRY DU BOIS - He points his index finger to the young girl, "Yes, this looks like Anne, but many, many years ago." His finger moves across the photograph to the nine-year-old boy. "And that must be her younger brother."</span>
</p>
<p class="">
  <span class="">YOU - You nod and add the information to your notebook. "Did you find anything else of note?"</span>
</p>
<p class="">
  <span class="">HARRY DU BOIS - "Um... well-" He stammers, awkwardly rubbing the back of his neck.</span>
</p>
<p class="">
  <span class="">EMPATHY [Challenging: success] - Why is he acting so weird?</span>
</p>
<p class="">COMPOSURE [Challenging: success] - He's trying very hard not to look at the bedside table, but it proves difficult for him.</p>
<p class="">YOU - Frowning, you walk over to the bedside table and slide open the top drawer.</p>
<p class="">Ah.</p>
<p class="">EMPATHY [Trivial: success] - Well, this explains his reaction.</p>
<p class="">PERCEPTION [Easy: success] - '<em>This</em>' being a pair of handcuffs, a sturdy rope, an interesting variety of sex toys and - to promote safe sex - a bottle of lube and a packet of condoms.</p>
<p class="">COMPOSURE [Formidable: success] -  You don't move a muscle. Not even the tips of your ears flush.</p>
<p class="">VOLITION - But at one point, you do have to move, otherwise you'll look like a fool, or a pervert.</p>
<p class="">ELECTROCHEMISTRY [Legendary: success] - You should distract Harry, grab the stuff and put it in your pockets. You could put them to some good use with Jean.</p>
<p class="">VOLITION [Formidable: success] - While that may sound tempting. You have a murder case to solve right now and fantasising about what Jean could do to you is not helping.</p>
<p class="">AUTHORITY [Challenging: success] - Correction: what <em>you</em> can do to Jean.</p>
<p class="">VOLITION [Medium: success] - Either way, if you stand around for much longer, Harry's going to think you've lost your mind.</p>
<p class="">EMPATHY [Easy: success] - He won't judge you for that though, because he's done that lots of times too.</p>
<p class="">COMPOSURE [Formidable: success] - Just take a step back and shut the drawer.</p>
<p class="">ELECTROCHEMISTRY [Legendary: failure] - But...</p>
<p class="">VOLITION - Just shut the damn drawer already.</p>
<p class="">YOU - You slide the drawer shut with a bit more force than necessary and turn to Harry.</p>
<p class="">HARRY DU BOIS - "We won't take it with us?" He falters when your eyebrow arches up and quickly adds, "As evidence, I mean."</p>
<p class="">YOU - "I don't see how this is relevant to the case." But you still make a small note of her sexual proclivities nonetheless.</p>
<p class="">LOGIC [Medium: success] - When you did the body examination, you found no markings on her skin that could've been created by being tied up. So maybe, she was the one tying up her lovers instead of the other way around.</p>
<p class="">AUTHORITY [Challenging: success] - Even in the photograph as a fourteen-year-old she had some kind of glint in her eyes, some kind of power she held over other people to bend them to her will.</p>
<p class="">YOU - You decide to keep that nugget of trivia to yourself right now and ask Harry if he's found anything else of note.</p>
<p class="">HARRY DU BOIS - He holds out a little booklet. "It's an address-book. It might be useful if we want to find the people she fu-" he corrects himself, "she had relations with."</p>
<p class="">YOU - "Okay, we'll check that out later. Let's get out of here, so we can interview our first suspects."</p>
<p class="">HARRY DU BOIS - Harry stretches and cracks his neck, preparing for the rest of today's work.</p>
<p class="">When you were young and spry and not yet part of the RMC, you had no idea interviewing people would be one of the most taxing parts of your job, but now you've done more than you can count and you know how difficult people can be, especially when they're suspects in a murder investigation. This will be a long day.</p>
<p class=""> </p>
<p class="">---</p>
<p class=""> </p>
<p class="">You stand in front of the apartment of Mr. and Mrs. Alessi. A couple in their mid-thirties who visited Madame Reynders bi-weekly because they were walking the thin line between marriage and divorce. According to Madame Reynders's client folder, the husband tends to have violent outbursts when he is angry and the wife shouts right back at him. This causes them to be at each other's throats more often than not. Thank God they don't have any children.</p>
<p class="">When Mr. Alessi opens the door, he's sort of what you expect. A small, slightly balding man with a round face. He immediately notices the white rectangles of the RCM and his eyes narrow.</p>
<p class="">MR. ALESSI - "Can I help you with something, Officers?"</p>
<p class="">YOU - "Good afternoon sir, I'm Kim Kitsuragi and this is my partner, Harry Du Bois of the Revachol Citizens Militia. We're investigating the murder of Anne Reynders. We were hoping we could talk to you and your wife."</p>
<p class="">EMPATHY [Easy: success] - The news doesn't come to him as a shock.</p>
<p class="">HALF-LIGHT [Challenging: failure] - Arrest him immediately. This means he's done it, how else could he be so unsurprised?</p>
<p class="">LOGIC [Challenging: success] - Because the appointment of him and his wife was scheduled for today and Madame Reynders's assistent is working hard to inform all the clients of her death.</p>
<p class="">While he leads the two of you to the kitchen, you notice the melancholic expression in his eyes.</p>
<p class="">EMPATHY [Medium: success] - He's mourning Madame Reynders as if he would a good friend.</p>
<p class="">PERCEPTION - Mrs. Alessi sits at the kitchen table. She's a tall woman even sitting down and her eyes are a piercing light grey. A half-empty cup of coffee stands forgotten on the kitchen counter.</p>
<p class="">MR. ALESSI - "Darling, the police are here."</p>
<p class="">MRS. ALESSI - "I can see that, dear."</p>
<p class="">RHETORIC [Challenging: success] - Darling? Dear? Aren't these two people meant to be at each other's throats? They don't sound like they're being sarcastic either.</p>
<p class="">YOU - "We'll try to keep this as short as possible ma'am." You signal Harry to start asking questions, while you open your notebook.</p>
<p class="">HARRY DU BOIS - "How long were you Madame Reynders's clients?"</p>
<p class="">MR. ALESSI - "A couple of months, maybe half a year."</p>
<p class="">HARRY DU BOIS - "How did you get to know of her services?"</p>
<p class="">MR. ALESSI - "It must've been an advertisement or something." He looks over to his wife who nods in agreement.</p>
<p class="">MRS. ALESSI - "I was the one who saw the advertisement. At first, I wasn't sure if Samuel would even consider it, but eventually we decided to go for it."</p>
<p class="">HARRY DU BOIS - "And that seemed to be the right decision."</p>
<p class="">MRS. ALESSI -  She gives the both of you a faint smile. "For a long time it wasn't, but a couple of weeks ago, Anne gave us the book she wrote and that saved our relationship."</p>
<p class="">HARRY DU BOIS - "You mean 'The Joys of Saying Yes'?"</p>
<p class="">It surprises you that Harry still knows its title, even though he only saw it once.</p>
<p class="">MRS. ALESSI - "Yes, that's the one."</p>
<p class="">YOU - "And the book <em>saved</em> you?"</p>
<p class="">RHETORIC [Easy: success] - It's a bold claim and you just about manage to mask your incredulity.</p>
<p class="">LOGIC [Medium: success] - Inanimate objects don't hold that kind of power.</p>
<p class="">CONCEPTUALISATION [Challenging: success] - But words do, whether they're spoken or written in a book.</p>
<p class="">MRS. ALESSI - "You don't have to sound so cynical, Officer."</p>
<p class="">EMPATHY - Apparently you haven't masked your scepticism quite as well as you hoped.</p>
<p class="">MRS. ALESSI - She doesn't wait for you to respond as she continues, "I just wish we could've thanked Anne for it. We owe her a great deal."</p>
<p class="">DRAMA [Challenging: success] - She's not lying. There's not an ounce of ill will to be found in either of these people.</p>
<p class=""> </p>
<p class="">---</p>
<p class=""> </p>
<p class="">You go back to the precinct after a couple more interviews with some of Mme. Reynders's other clients. All share similar stories and they all gush over her relationship advice, her book and her wonderful positive attitude.</p>
<p class="">LOGIC [Easy: success] - Not one of them has anything bad to say about her, which is to be expected. A relationship therapist who has bad relationships with her clients is probably not a very good relationship therapist. And wouldn't have that many clients.</p>
<p class="">But that doesn't mean it's not frustrating when you end the day having gotten no closer to finding a motive or a suspect.</p>
<p class="">You try to get to work, skimming through Madame Reynders's address book, but you're getting distracted. Because of Harry.</p>
<p class="">He's leaning back in his seat, acting as if his body slowly melting into a puddle. Right now, his nose is barely still poking above the desk.</p>
<p class="">HARRY DU BOIS - "Today was a flop."</p>
<p class="">EMPATHY [Challenging: success] - It's hard keeping your energy up when your partner's is down. But you try so anyway.</p>
<p class="">YOU - "We worked hard today. We were meticulous and ruled out quite a few potential suspects."</p>
<p class="">HARRY DU BOIS - "I was hoping it was one of her clients. She was murdered in her office after all." His nose completely disappears from view.</p>
<p class="">LOGIC [Easy: success] - Correct. It would be less likely for someone from Mme. Reynders's personal life to go out of their way to kill her in her office, but it's not impossible.</p>
<p class="">VOLITION [Formidable: success] - The only thing that's going to get you through this investigation is perseverance and systematically ruling out potential suspects.</p>
<p class="">AUTHORITY [Medium: success] - It will take time, but you will succeed as long as you keep your partner under control.</p>
<p class="">EMPATHY [Medium: success] - You know patience is not Harry's forte. And his dramatic display of sliding down his chair shows that he's restless.</p>
<p class="">YOU - "What's on your mind, detective?"</p>
<p class="">HARRY DU BOIS - He shimmies back into his seat. "Maybe the murderer is a serial sleep-killer."</p>
<p class="">RHETORIC [Medium: failure] - He says the words like they mean something. They don't.</p>
<p class="">YOU - "What do you mean?"</p>
<p class="">HARRY DU BOIS - "You know, like sleepwalking... except killing."</p>
<p class="">You decide to humour him, but only because it's the end of the day and you really don't think you'll do any actual work at this hour.</p>
<p class="">YOU - "Okay, how would that work?"</p>
<p class="">HARRY DU BOIS - He starts his explanation and it's obvious he has spent much too long thinking about this. "Well, it'd be complicated for sure. Get in her office, stab her and get out, all while staying asleep."</p>
<p class="">YOU - "And what's the chance of that happening?"</p>
<p class="">HARRY DU BOIS - "1.37%."</p>
<p class="">INLAND EMPIRE - He has spent way too long thinking about this.</p>
<p class="">LOGIC [Medium: success] - That leaves you with 98.63% of credible alternatives.</p>
<p class="">YOU - "Let's not waste our time on the 1 percent." When Harry gives you his signature kicked-puppy look, you sigh, "Not yet at least."</p>
  </div></div>
<a name="section0007"><h2>7. Thursday</h2></a>
<div class="story"><div class="fff_chapter_notes fff_head_notes"><b>Summary for the Chapter:</b><blockquote class="userstuff">
            <p>It's Thursday...</p>
          </blockquote><b>Notes for the Chapter:</b><blockquote class="userstuff"><p>I wanna give a quick shout-out to kagmaink on tumblr for listening to me rant about this fic and for helping me out with Harry's inner voices. Thanks so much!!</p></blockquote></div><div class="userstuff module">
    
    <p class="">Thursdays are always the worst days of the week. You know in your gut that this has been a constant in your life, even through your memory loss. They're bleak days, cloudy. The sun never shines on a Thursday or if it does, you don't notice.</p><p class="">On really shitty Thursdays it rains, but it's not the fun kind of rain that's accompanied by a thunderstorm. It's the miserable rain that lasts all day. Rain that doesn't seem to be heavy, until you stand in it for not even more than a minute and get soaked.</p><p class="">Today, it's that kind of rain and you've forgotten your umbrella at home.</p><p class="">A track of rainwater trails behind you as you trek your way through the precinct.</p><p class="">YOU - You pour yourself a cup of coffee.</p><p class="">DRAMA [Trivial: success] - Black as your soul.</p><p class="">YOU - And you burn your tongue on the scalding liquid. </p><p class="">DRAMA [Challenging.: success] - It would be a disaster to spit out the coffee, because then it would spill all over your suit and the table and the entire precinct. And everyone would see and point and laugh at how much of a screw-up you are. </p><p class="">COMPOSURE [Legendary: success] - You swallow the coffee and it burns your throat.</p><p class="">PAIN THRESHOLD [Challenging: failure] - Fuck, this shit hurts. It's like you're burning from the inside-out. Tears collect in your eyes.</p><p class="">It's Chester Mclaine who saunters up to you, pouring a cup of coffee for himself. The second one for him today.</p><p class="">CHESTER MCLAINE - "How's the case going, Detective Sober?"</p><p class="">AUTHORITY [Formidable: success] - He's mocking you. He's already heard how bad it's going.</p><p class="">YOU - "You damn well know it isn't going anywhere, Mclaine."</p><p class="">CHESTER MCLAINE - "Ooh," He sing-songs, "Someone got out on the wrong side of the bed."</p><p class="">PHYSICAL INSTRUMENT [Medium: success] - Ugh, you want to punch him in his stupid, grinning face.</p><p class="">Thankfully, before you do anything so stupid and violent. Kim jumps to your rescue.</p><p class="">KIM KITSURAGI - "Are you ready to head out?"</p><p class="">YOU - "Where are we going?"</p><p class="">KIM KITSURAGI - "Interviewing Madame Reynders's ex-husband."</p><p class="">INLAND EMPIRE - Nope, there's no way you can do this on a Thursday.</p><p class="">VOLITION [Medium: success] - You can and you have to. This is your job.</p><p class="">YOU - "Let's do this, Kim." You muster up enough energy to sound about half as enthusiastic as you usually do.</p><p class="">PERCEPTION (SIGHT) - If Kim noticed, he's not showing it.</p><p class=""> </p><p class="">---</p><p class=""> </p><p class="">Isidore Courtois lives in an upstanding neighbourhood in the West of Jamrock. Well it's as upstanding as Jamrock could be. He has a house located on a one-way street and finding a parking space is literal hell. You're quite thankful Kim is at the wheel, because he knows what he's doing and keeps his head cool. If it were you, you would've bumped into a bunch of parked cars already and violated a ton of traffic laws.</p><p class="">KIM KITSURAGI - Kim's brow furrows as he concentrates on parking the motorcarriage. Once the Kineema comes to a halt, Kim turns to you with a self-satisfied grin. "We've arrived."</p><p class="">YOU - "Good job, Kim." You say, but your heart isn't into it. What's wrong with you?</p><p class="">PAIN THRESHOLD - Thursdays, man. They're not good for you.</p><p class="">The both of you step out of Kim's Kineema and walk up the porch to the ex-husband's house.</p><p class="">PERCEPTION (SIGHT) [Formidable: success] - The house is only one story, and has a couple of windows on the front. Curtains cover the windows, but you notice a faint outline of a man watching you from behind them.</p><p class="">YOU - "Kim, he's watching us."</p><p class="">KIM KITSURAGI - "He probably heard us park in front of his house. Nothing to worry about though, we're not trying to be stealthy." He gives you an encouraging smile.</p><p class="">HALF-LIGHT - It doesn't work though. You have a bad feeling about this.</p><p class="">Kim presses the doorbell which makes an obnoxiously loud ding-dong noise. Before the last 'dong' rings, the door opens, revealing a man. He seems to be between fifty and sixty years old.</p><p class="">VISUAL CALCULUS [Medium: success] - 56, to be precise.</p><p class="">PERCEPTION (SIGHT) [Easy: success] - His hair is peppered with grey. He has wrinkles, mostly around his eyes and mouth, that make him look older. But his eyes are youthful and alert. He's wearing some sort of uniform. It's not a police or military uniform, they are simple beige overalls.</p><p class="">LOGIC [Challenging: success] - If you had to take a guess, he looks like a park keeper.</p><p class="">CONCEPTUALISATION [Legendary: failure] - This man, this <em>ex-husband,</em> doesn't look like you'd imagined him.</p><p class="">LOGIC - How did you expect him to look?</p><p class="">CONCEPTUALISATION [Challenging: success] - More "ex-husband-like". Bitterder perhaps. Or with blood curdled in alcohol or drugs. You did not, however, expect to see a man who looked like life was treating him well.</p><p class="">DRAMA - But looks can be deceiving and perhaps this man is suffering in silence.</p><p class="">PERCEPTION (SIGHT) [Easy: failure]  - ...</p><p class="">PAIN THRESHOLD - Or maybe this man is not a screw-up like you. How long has he and Anne been divorced, five years? That's less than the six years you've been wallowing in your misery.</p><p class="">PERCEPTION (SIGHT) [Easy: success] - Kim has been looking at you expectantly for who knows how long already.</p><p class="">KIM KITSURAGI - "Detective?"</p><p class="">YOU - "... Yes?"</p><p class="">LOGIC - He motions for you to take the lead in this interview.</p><p class="">YOU - "Oh, right." You clear your throat, has it always been this scratchy? "You are Anne Reynders's ex-husband, is that correct?"</p><p class="">ISIDORE COURTOIS - "Yes, I am." His easy-going smile disappears. "Did something happen to Annie?"</p><p class="">YOU - You swallow the lump in your throat and tell him, "Anne was found dead in her office a few days ago. We are investigating her murder."</p><p class="">ISIDORE COURTOIS - Isidore turns as white as a sheet and loses his balance. Kim steadies him with a hand on his arm and guides him to sit on a chair.</p><p class="">PERCEPTION (SIGHT) [Medium: success] - The man lowers his head, but you see the teardrops land in his lap. The shaking shoulders, the trembling of barely suppressed despair.</p><p class="">EMPATHY [Easy: success] - He's devastated.</p><p class="">And you're responsible for it.</p><p class="">ISIDORE COURTOIS - "Murdered? How, why?" He chokes out, as continues in a murmur that's more to himself than for you to hear. "I don't understand."</p><p class="">You and Kim give him some minutes of silence to process the news, before bombarding him with questions.</p><p class="">KIM KITSURAGI - "Our sincere condolences, she clearly meant a lot to you."</p><p class="">ISIDORE COURTOIS - "We were married for over twenty years." He pauses to take a shaky breath, "To know that she no longer walks this Earth is... hard to fathom."</p><p class="">If someone told you Dora was dead, murdered...</p><p class="">You wouldn't know what to do.</p><p class="">VOLITION [Formidable: failure] - You'd fall straight back into the hole you were halfway through climbing out of. </p><p class="">LOGIC - Even when you know, she wouldn't care whether you're alive or dead.</p><p class="">ISIDORE COURTOIS - He gathers his scrambled thoughts and asks, "How-how did she die?" His eyes flit between you and Kim.</p><p class="">EMPATHY [Easy: success] - Don't go into the gruesome details. That won't ease the pain.</p><p class="">LOGIC - But being needlessly vague is unhelpful as well. This man wants answers.</p><p class="">YOU - "She was stabbed in her office."</p><p class="">ISIDORE COURTOIS - At the word 'stabbed' he sucks in a breath. After a beat, he releases it. "Who would do such a thing?"</p><p class="">YOU - "That's what we're trying to figure out."</p><p class="">KIM KITSURAGI - "We would like to ask you a couple of questions if that's alright. It may help us with this investigation."</p><p class="">ISIDORE COURTOIS - He picks up the rest of his scrambled feelings and thoughts, wipes his eyes and nose with a white handkerchief and puts on a brave face. "Of course, Officers."</p><p class="">SUGGESTION [Trivial: success] - Do not ask him if he killed her. He didn't do it, or he would have to be the greatest actor in the world to have put on a show like this.</p><p class="">DRAMA [Easy: success] - And as you already know, he's a park keeper, not an actor.</p><p class="">YOU - "What do you do for a living?"</p><p class="">ISIDORE COURTOIS - "I'm a representative for the Jamrock Nature Preservation Program."</p><p class="">LOGIC - Not exactly right, but close enough.</p><p class="">YOU - "And what does the Nature Preservation Program do?"</p><p class="">ISIDORE COURTOIS - "The Nature Preservation Program strives to preserve nature in Jamrock and make the city a greener, healthier place." He sounds like he's reading straight from a pamphlet.</p><p class="">YOU - "Yes, but what do you do exactly?"</p><p class="">ISIDORE COURTOIS -  "Right now, we are planting nectar plants in the city parks to reintroduce the butterfly population."</p><p class="">YOU - "Is the butterfly situation that dire?"</p><p class="">ISIDORE COURTOIS - "When is the last time you've seen a butterfly flying around Jamrock?"</p><p class="">ENCYCLOPEDIA [Challenging: success] - It must've been in the summer many years ago, since you had been out eating ice-cream with - <em>her</em>. She was wearing a blue striped summer dress and a headband with yellow flowers on it. You remember it because it was a birthday present you gave her. During your date a black and white butterfly landed on it, thinking they were real flowers.</p><p class="">Of all the things you've remembered after your amnesia, why are it always memories of her that are the most vivid?</p><p class="">YOU - "A long time ago." </p><p class="">RHETORIC [Formidable: failure] - Not long enough or too long? You can't make sense of it anymore.</p><p class="">ISIDORE - "Exactly. And that's the reason the Nature Preservation Program has to exist."</p><p class="">LOGIC [Challenging: success] - You recall seeing a butterfly display case in Anne's office, was that his?</p><p class="">YOU - "There was a butterfly display in Anne's office, yours I presume?"</p><p class="">ISIDORE COURTOIS - He smiles wistfully. "I gave it to her when we'd been only dating for a year." His smile turns in a grimace, "Back then the butterflies were in abundance."</p><p class="">CONCEPTUALISATION [Challenging: failure] - And now there are no butterflies left. There's a metaphor in there somewhere, but your head hurts too much for you to get a good grasp of it.</p><p class=""> - Unlike you, he's doing his best to aid the butterfly population. What are you doing, huh?</p><p class="">VOLITION [Formidable: success] - While it might be interesting to continue talking about butterflies for the next few hours, you actually have a police investigation to do.</p><p class="">DRAMA [Medium: success] - You're lying to yourself and you know it. This so called 'police investigation' is the last thing on your mind right now.</p><p class="">ESPRIT DE CORPS [Challenging: success] - You are a police officer on a police investigation asking police questions.</p><p class="">YOU - "Uh." Your mouth moves but no sounds come out.</p><p class="">VOLITION - You can't do it, can you?</p><p class="">YOU - "Uh... um," Your lower lip begins to tremble.</p><p class="">VOLITION - Oh. My. God. Are you about to cry?</p><p class="">COMPOSURE [Legendary: success] - No, you just about manage to hold back a sob.</p><p class="">VOLITION - What the hell was that? </p><p class="">CONCEPTUALISATION [Easy: success] - It's the butterflies and the onslaught of memories and an overwhelming feeling of sorrow. </p><p class="">YOU - You notice Kim's shooting you a concerned look, but you ignore him in favour of asking Isidore a question. The Most Important Question. Not for the investigation, but for you.</p><p class="">YOU - "What are your feelings towards her now?"</p><p class="">ISIDORE COURTOIS - "Towards Anne? She's..." he looks for a better word than 'dead' and finds it after a moment of silence, "- gone."</p><p class="">PERCEPTION (SIGHT) [Easy: success] - He closes his eyes and sets his jaw tight to rein in his emotions.</p><p class="">ISIDORE COURTOIS - "She was a constant in my life, even when we'd broken up. So, I'll miss her."</p><p class="">PAIN THRESHOLD [Medium: success] - Going down this line of questioning is dangerous and will end up with someone, <em>you</em>, getting hurt. </p><p class="">YOU - "It sounds like you still care a lot about her."</p><p class="">ISIDORE COURTOIS - "Of course I do, we stayed good friends after our divorce."</p><p class="">VOLITION - Stop asking these question.</p><p class="">YOU - You can't stop yourself and neither can Kim. From the way his fist clenches, you notice he wishes to intervene get back on track with the actual investigation, but you're too quick. "And you don't regret your divorce?"</p><p class="">
  <span class="">ISIDORE COURTOIS - "Not anymore. I soon realised we were both happier on our own. She taught me that </span>
  <span class="">saying goodbye and missing someone doesn't have to change the memories we cherish. Those were real and special and can't be spoilt by bitterness or guilt."</span>
</p><p class="">VOLITION - You've got your answer. Are you happy now?</p><p class="">YOU - No.</p><p class="">REACTION SPEED - It's both tragic and hilarious how long it took you to realise that this ex-husband is nothing like you.</p><p class="">LOGIC [Medium: success] - There are hundreds of ex-husbands and ex-wives, ex-lovers and ex-friends who deal with their "ex-ness" in a sensible, normal manner.</p><p class="">LOGIC [Challenging: failure] - It's you. You're just a special kind of screwed up.</p><p class="">EMPATHY - Your plan to find someone you could relate to has failed.</p><p class="">ENDURANCE [Medium: failure] - Just give up already, Harry.</p><p class="">ELECTROCHEMISTRY [Challenging: success] - And if you do, go all the way. Drinks, drugs, all that good stuff.</p><p class="">VOLITION - But your progress-</p><p class="">Progress means <b>nothing</b> on a Thursday.</p><p class="">HALF-LIGHT [Legendary: success] - You need to get out of here now.</p><p class="">YOU - "Kim, I need to... go outside for a breather."</p><p class="">KIM KITSURAGI - "Is there something the matter, Detective?"</p><p class="">YOU - "I just need some fresh air."</p><p class="">KIM KITSURAGI - He gives you a nod, which is accompanied by a huge frown. "Okay, I'll come outside with you." He addresses a very confused Isidore, "Please, excuse us for a moment, sir."</p><p class="">Before you know it you stand outside on the front porch. Kim has his hands on his hips and he's staring at you intently.</p><p class="">KIM KITSURAGI - "What's going on, Harry?"</p><p class="">YOU - For a moment it feels like you're going to word vomit out all of your ugly thoughts and feelings, but you keep the bile in. "I just, I don't think I can do this."</p><p class="">KIM KITSURAGI - "Can't do what?"</p><p class="">RHETORIC [Medium: success] - Oh, where to begin? You can't do police work, you can't do this investigation and especially not this interview with the ex-husband.</p><p class="">YOU - "I can't do this interview today."</p><p class="">KIM KITSURAGI - "Why not?"</p><p class="">RHETORIC [Challenging: failure] - Because it's a Thursday, simple as that.</p><p class="">EMPATHY [Medium: success] - Kim's not going to understand or accept that.</p><p class="">YOU - "Because I have a headache."</p><p class="">KIM KITSURAGI - "I'm sure you've done investigations when you've been running around with more than just a simple headache."</p><p class="">YOU - "This one is particularly bad."</p><p class="">KIM KITSURAGI - He bites his lip, contemplating your options. He looks like he really doesn't want to have to come back here again later just in order to finish the interview.</p><p class="">SUGGESTION [Challenging: success] - So why don't you make his decision easier by deciding for him.</p><p class="">YOU - "I could go back to the precinct on my own, so you can still wrap up the interview."</p><p class="">KIM KITSURAGI - "And how do you expect to get there? If you walk you'll be on route for at least half a day."</p><p class="">YOU - "I'll walk to the main road and get a taxi there."</p><p class="">KIM KITSURAGI - "If you're sure?" He asks.</p><p class="">YOU - "I can manage on my own, Kim."</p><p class="">KIM KITSURAGI - Kim looks like he's having his own internal discussion, before reaching a consensus. He nods, "Alright, I'll see you at the precinct then."</p><p class="">YOU - You give him a nod in response and begin your walk to the main road, where you will indeed get into a taxi, but it's not the precinct you're headed to.</p>
  </div></div>
<a name="section0008"><h2>8. Where To Next?</h2></a>
<div class="story"><div class="fff_chapter_notes fff_head_notes"><b>Summary for the Chapter:</b><blockquote class="userstuff">
            <p>Arriving at the precinct, Kim notices Harry isn't there.</p>
          </blockquote><b>Notes for the Chapter:</b><blockquote class="userstuff"><p>As always a big thanks to kagmaink aka Kara for letting me rant about this fic for literal hours and giving me interesting ideas to include in the story!</p></blockquote></div><div class="userstuff module">
    
    <p class="">The remainder of the interview with Isidore progresses smoothly. You ask him questions about his history with Mme. Reynders, whether she had any enemies and who she was as a person. He describes her as a confidante, a pleasant woman to be around, a bright-eyed adventuress.</p>
<p class=""> You also, subtly, ask where he was the day she was murdered. He says he was on a Nature Preservation Program outing with a couple of colleagues and you have no reason not to believe him.</p>
<p class="">It isn't necessarily more or less difficult to work without a partner by your side, but when you say your goodbye to Isidore and walk to your Kineema, you feel the urge to go over the newly acquired information with Harry, except he isn't here.</p>
<p class="">You remember how odd he was acting during the interview. </p>
<p class="">LOGIC [Easy: success] - His behaviour is strange, but it's not as bad compared to some of his actions in Martinaise. </p>
<p class="">
  <span class="">AUTHORITY [Easy: success] - Harry is no longer a loose-cannon cop running around with alcohol-induced brain damage. He's an actual, honest to God, good cop and could even be a super-cop if he wanted to be.</span>
</p>
<p class="">But his actions today are very reminiscent of your first case together. Harry would often spend a lot of time inside of his own head before spouting nonsense that really caught you off-guard. Today, Harry has been less talkative and you can't help but worry a bit. The less time Harry spends talking, the more he gets stuck in his own mind.</p>
<p class="">CONCEPTUALISATION [Formidable: success] - And Harry once told you his mind is a scary place.</p>
<p class="">LOGIC [Challenging: success] - He's just having a bad day and when you see him at the precinct, you'll realise you had nothing to worry about.</p>
<p class=""> </p>
<p class="">---</p>
<p class=""> </p>
<p class="">When you arrive at the precinct you are proven wrong. You come across Mack Torson and Chester McLaine, who are on their way out of the building.</p>
<p class="">MACK TORSON - He nods to you in greeting.</p>
<p class="">CHESTER MCLAINE - He also gives you a nod and then looks behind you. "Where's Detective Mullen?" He asks.</p>
<p class="">YOU - "He hasn't gotten back yet?"</p>
<p class="">CHESTER MCLAINE - "Nope." He emphasises the 'p', and says, "Haven't seen him."</p>
<p class="">YOU - "That's weird, he should've been here already." You muse out-loud.</p>
<p class="">CHESTER MCLAINE - "Don't know how useful he'll be to you though. He was in a foul mood this morning."</p>
<p class="">And with that, the officer and sergeant duo walks off to do their jobs.</p>
<p class="">You enter the precinct and walk towards your desk. You place your notebook down and before you can grab yourself a cup of coffee, the shadow of Jules Pidieu looms over you.</p>
<p class="">PERCEPTION (SIGHT) [Medium: success] - You notice he's holding a small slip of paper in his hand.</p>
<p class="">YOU - "Yes, Jules?"</p>
<p class="">JULES PIDIEU - "I contacted the solicitor who made up your victim's will and got the contact information of her inheritor." He hands you the small paper. "It's her brother, Benton Reynders."</p>
<p class="">YOU - "This will come in handy. Thank you."</p>
<p class="">You make a mental note to check up on that later, but first... finding Harry.</p>
<p class="">LOGIC [Medium: success] - No, first you need coffee to fuel your search for Harry.</p>
<p class="">ELECTROCHEMISTRY - Yesss, caffeine...</p>
<p class="">YOU - You approach the coffee machine, but are stopped in your tracks by yet another person, who taps you on the shoulder. You turn around and come face-to-face with Jean.</p>
<p class="">ELECTROCHEMISTRY [Easy: success] - He's so close. It would be so easy to lean in to kiss his lips.</p>
<p class="">VOLITION [Challenging: success] - You're in the middle of the precinct, surrounded by all of your colleagues (minus Harry, Chester and Mack). Do you need more reasons not to kiss him right now?</p>
<p class="">YOU - You force yourself to take a couple of steps back and you almost bump into the coffee machine as you do.</p>
<p class=""> </p>
<p class="">JEAN VICQUEMARE - "Kim, how's the case going?" </p>
<p class="">ESPRIT DE CORPS [Medium: success] - Aha, he came to talk to you about work. Finally. It's time to prove your worth as an RCM Officer to him. Show him how professional you are.</p>
<p class="">YOU - "Officer Vicquemare." You greet him, trying to stay as professional as possible. "The case is progressing at a slow but steady pace."</p>
<p class="">JEAN VICQUEMARE - "Good, good. And where's your other half?"</p>
<p class="">DRAMA [Formidable: success] - He's standing right here in front of your nose.</p>
<p class="">RHETORIC [Medium: success] - He's calling <em>Harry</em> your 'other half'.</p>
<p class="">YOU - "He should be here." You explain. "Harry fell ill during the interview so I told him to go back to the precinct with a taxi while I finished up."</p>
<p class="">JEAN VICQUEMARE - Jean lets out a deep sigh, "Did he even have money for a taxi?"</p>
<p class="">LOGIC [Medium: failure] - Damn, you haven't really thought about that.</p>
<p class="">RHETORIC [Challenging: success] - He's expecting an answer, quick.</p>
<p class="">YOU - "I assume he did and if he didn't I would've seen him wandering the streets on my way back."</p>
<p class="">JEAN VICQUEMARE - "So where could he be?"</p>
<p class="">That question leaves you at a loss for words. You work closely with Harry and you've gotten to know him better than a lot of your colleagues back in precinct 57, but it dawns on you that you don't really <em>know</em> him.</p>
<p class="">YOU - You hold up your shoulders and your eyes widen when you hear Jean cuss loudly.</p>
<p class="">JEAN VICQUEMARE - "Shit!"</p>
<p class="">YOU - "What's wrong?"</p>
<p class="">JEAN VICQUEMARE - "It's a goddamn Thursday."</p>
<p class="">That's all you get as a reply before Jean's dragging you out of the station by your jacket sleeve. The second you're outside of the office, he lets go and starts pacing back and forth.</p>
<p class="">YOU - "Well that wasn't suspicious in the slightest." You mutter under your breath and cross your arms. "Will you tell me what's going on?"</p>
<p class="">JEAN VICQUEMARE - He huffs out a breath, "Thursdays are Harry's days from Hell. If he's gone, then he's..." He searches for the right word, but can't find it, "fucking gone, alright."</p>
<p class="">YOU - "He wasn't struggling with this Thursday last week. Or the week prior."</p>
<p class="">JEAN VICQUEMARE - "It's been different since Martinaise. I even started suspecting the amnesia knocked the depression right out of his head, but something must've triggered it."</p>
<p class="">LOGIC [Challenging: success] - You have a pretty good idea of what could've been the trigger.</p>
<p class="">YOU - "We interviewed the victim's ex-husband today, that might've done it."</p>
<p class="">JEAN VICQUEMARE - With a nod he replies, "Indeed. Did the fellow seem guilty or not?"</p>
<p class="">YOU - "Completely innocent, alibi and all."</p>
<p class="">JEAN VICQUEMARE - "I don't know which of the two is worse."</p>
<p class="">LOGIC [Formidable: success] - The ex-husband being not-guilty is worse because now you'll have to keep looking for a culprit.</p>
<p class="">SUGGESTION [Challenging: success] - But if the ex-husband was guilty, what kind of message would that send to Harry and other 'ex-people'? That just because someone terminated a relationship, it's justified to murder them?</p>
<p class="">EMPATHY [Heroic: success] - On the other hand, Harry is projecting a lot of his own anger and sadness on this ex-husband and not seeing it reflected back must feel disorientating and upsetting.</p>
<p class="">YOU - "Instead of focusing on which is worse, perhaps we should redirect our energy on finding Harry?" You suggest.</p>
<p class="">JEAN VICQUEMARE - "Agreed." He checks his watch. "Why don't you drive us to Harry's favourite bars in Jamrock? I'll give directions."</p>
<p class="">ELECTROCHEMISTRY [Formidable: success] - Jean giving you directions? With that (sexy), stoic expression on his face? Say no more. You're down for that.</p>
<p class="">AUTHORITY [Challenging: success] - You're driving, so no matter where Jean <em>tells</em> you to go, you can defy him at any moment.</p>
<p class="">VOLITION [Easy: success] - This is a serious situation. All you need to be concerned about right now is finding Harry.</p>
<p class="">YOU - "Okay then, let's go."</p>
<p class=""> </p>
<p class="">---</p>
<p class=""> </p>
<p class="">Unfortunately you don't have any luck finding Harry at the first bar, or the second, or the third. The bartender in the third bar is a twenty-something man with a particularly oval-shaped face.</p>
<p class="">JEAN VICQUEMARE - "Did you serve drinks today to a depressed middle-aged man with mutton chops wearing obnoxious disco clothes?"</p>
<p class="">THE OVAL-FACED BARTENDER - "Why? Is he in trouble with the law?" He replies warily, looking at the white rectangles on Jean's jacket, "I haven't seen anyone like that around, I swear." He holds his hands up in defence.</p>
<p class="">ESPRIT DE CORPS [Easy: success] - He's obviously worried he'll be seen as 'guilty by association'.</p>
<p class="">JEAN VICQUEMARE - "We're not here to arrest him, we just want to make sure he's alright."</p>
<p class="">THE OVAL-FACED BARTENDER - "Yeah right." He scoffs.</p>
<p class="">EMPATHY [Easy: success] - Jean's patience is visibly wearing thin.</p>
<p>YOU - You intervene before a vein in Jean's forehead pops. "Harry probably hasn't been here. You know he leaves an impression everywhere he goes."</p>
<p class="">JEAN VICQUEMARE - "An impression and a trail of destruction, you mean?"</p>
<p class="">LOGIC [Trivial: success] - He's definitely not wrong.</p>
<p class="">YOU - You lay a placating hand on Jean's arm and feel a small satisfied thrill when he doesn't brush you off. You turn to the bartender, "Thank you for your time."</p>
<p class="">THE OVAL-FACED BARTENDER - He sends you off with a non-committal grunt before dealing with his customers at the bar.</p>
<p>You and Jean walk back to your Kineema. Jean's face is set in a frown, his expression stormy.</p>
<p>REACTION SPEED [Challenging: success] - You notice Jean is about to say something - probably to complain about the unhelpful bartender, but you cut him off.</p>
<p>YOU - "Where to next?"</p>
<p>JEAN VICQUEMARE - He pinches the bridge of his nose and lets out a low sound of frustration, before collecting himself. "There's one place we haven't checked. Harry only went there when he was really..."</p>
<p>EMPATHY [Challenging: success] - He trails off, but you understand what he means.</p>
<p>JEAN VICQUEMARE - "Anyway, he'd buy alcohol at a corner shop and wallow in his own misery under a bridge."</p>
<p>YOU - "It can't hurt to check the place out. You know the directions?"</p>
<p>JEAN VICQUEMARE - "By heart."</p>
<p> </p>
<p>PAIN THRESHOLD [Medium: success] - Even when it really does more harm than good, your heart fills with hope as you drive towards your destination. You pray to find Harry here. Though in what state, you have no idea. </p>
<p>LOGIC [Challenging: success] - Harry <em>has</em> to be there. It's the last place you checked. He's a creature of habit. He'll always return to the same places, doing the same things, making the same mistakes.</p>
<p>You park near the bridge. It's in a forgotten district in town, near a bunch of abandoned factories. Everywhere you turn you just see grey buildings, some of them vandalised with colourful graffiti.</p>
<p>PERCEPTION (SIGHT) [Easy: success] - You see a bunch of graffiti of random words, 'artsy', 'jongens', 'create the wold' - An unfortunate typo. As a centrepiece there's a graffito of a young woman holding a lantern.</p>
<p>EMPATHY [Challenging: success] - Her expression is one of hope and a sense of longing.</p>
<p>PERCEPTION [Medium: success] - You take in the rest of your surroundings. You hardly hear the traffic because the area is so deserted. You can't hear anything at all, except the sound of crickets from nearby bushes.</p>
<p>INLAND EMPIRE - There's a dissonance between the bleakness of the buildings and the sunset glow turning your surroundings into a rose-tinted dream. It even messes with your emotions. You should be worried you can't seem to find Harry anywhere, instead you feel at ease. It's no wonder Harry often came back to this place in the past, if it offered him as much comfort as it does you.</p>
<p>JEAN VICQUEMARE - Jean is entirely unaffected by the serene atmosphere and anxiously inspects the empty syringes and broken bottles under the bridge for a sign of Harry, without luck.</p>
<p>YOU - You slowly approach him and say, "He's not here either."</p>
<p>JEAN VICQUEMARE - "I could've sworn he'd be here."</p>
<p>COMPOSURE [Medium: success] - He bites his lip to stop his frustration from bursting out.</p>
<p>YOU - You clap your hands together. "Alright, where can we check next?"</p>
<p>JEAN VICQUEMARE - "There's nowhere else." He grits out, "I don't know where he is."</p>
<p>YOU - You guide Jean back out into the late afternoon sunlight and face him directly, "We'll find him."</p>
<p>In the sunset his hair shines like it's golden and you want to run your hands through it.</p>
<p>CONCEPTUALISATION [Formidable: success] - You've never been such a fan of art, never been one to spend hours looking at paintings, but you are sure that if you were to go to a museum with paintings of beautiful people, they'd all pale in comparison to how Jean looks right now.</p>
<p>VOLITION - While that may be true, you can't get distracted now.</p>
<p>JEAN VICQUEMARE - He gives you a wry smile, "Given our luck, the bastard's turned himself invisible."</p>
<p>RHETORIC [Medium: success] - You recognise his poor attempt at making a joke and return the favour.</p>
<p>YOU - "Or maybe he's gone on a weeklong tropical holiday and forgot to tell us."</p>
<p>JEAN VICQUEMARE - "Or maybe he's disappeared without a trace. Never to be seen again." He chuckles humorlessly, "Good riddance for that."</p>
<p>YOU - "Jean, you don't mean that."</p>
<p>JEAN VICQUEMARE - "And what if I do? Don't you ever wonder how much easier our lives would be if he wasn't around?"</p>
<p>YOU - "You're only saying that now because you're worried about him."</p>
<p class="">JEAN VICQUEMARE - "I wish I didn't give a damn about him anymore. And I was so close, but then he returned from Martinaise with you and I actually... I actually believed he changed." He sounds exhausted.</p>
<p class="">YOU - "He has changed, Jean."</p>
<p class="">EMPATHY [Heroic: success] - You feel a justified anger bubbling in your gut as if Harry's whispering in your ear about how unfair Jean is being.</p>
<p class="">JEAN VICQUEMARE - "That's where you're wrong." He bristles, "I' know him way better than you do, Kim."</p>
<p class="">LOGIC [Medium: success] - You don't know Harry like Jean does. It's the truth. It's what you kept telling yourself while you let Jean bring you to all these places in search for Harry. <em>Unsuccessfully</em>.</p>
<p class="">INLAND EMPIRE [Challenging: success] - In these past minutes, something has changed. And that statement doesn't ring true anymore.</p>
<p class="">SHIVERS [Formidable: success] - Maybe you were wrong all along and Harry broke through his own self-destructive habits. In Martinaise, he pulled a full stop on all his vices. Who says he hasn't kept that up?</p>
<p class="">VOLITION [Medium: success] - You judged him too quickly. You assumed Jean knew exactly what Harry was like.</p>
<p class="">AUTHORITY [Formidable: success] - And you followed his lead, like a meek sheep.</p>
<p class="">SHIVERS - You forgot to follow your own gut.</p>
<p class="">YOU - "You may know Harry. But you don't trust him at all, Jean."</p>
<p class="">JEAN VICQUEMARE - Jean's jaw trembles with the effort he puts into subduing his rage, but bitter words still spill out. "Don't think because you've been his partner for a couple of months that you can replace me. I'm the one who talks him down when he gets like this. I'm the one who knows how violent he can be when he's high on alcohol and drugs. I ruined my own life to keep him alive, so don't even pretend you'd do half the things I've done for him!"</p>
<p class="">REACTION SPEED [Legendary: failure] - You want to retort, snap right back that you will support Harry and be the partner he deserves. But Jean's eyes are glaring right at you and the words die on your tongue.</p>
  </div><div class="fff_chapter_notes fff_foot_notes"><b>Author's Note:</b><blockquote class="userstuff"><p>You can find me on tumblr @notwritinganyflufftoday, where I post some snippets of my original wips as well!</p></blockquote></div></div>
</body>
</html>